To Live and Die in L.A. (1985) Review

 

Secret Service agent Richard Chance obsessively hunts down ruthless counterfeiter Eric Masters after the murder of his partner. What begins as a standard pursuit quickly spirals into a tangled web of double-crosses, corruption, and moral compromise, pushing Chance to ever more reckless extremes.

William Friedkin's To Live and Die in LA is a relentless, stylish crime thriller that defies expectations at every turn. Friedkin delivers a hard-edged, visually arresting film that thrives on its authentic on-location feel, shot across Los Angeles' grimy backstreets, industrial districts, and sun-bleached highways. The neon-drenched cinematography by Robby Müller and synth-driven score by Wang Chung give it an unmistakable 80s aesthetic, evoking shades of Miami Vice while maintaining the bleak, inevitable cycle and cynical tone of Chinatown. The film's tension builds through unpredictability-major characters meet shocking fates, and the narrative refuses to follow conventional action-thriller tropes.

Willem Dafoe is magnetic as Masters, an ice-cold, intelligent villain who is as artistic as he is lethal. His measured, near-hypnotic performance contrasts with William Petersen's intense, dangerously unhinged portrayal of Chance. Petersen fully embodies the reckless agent, blurring the line between hero and antihero as his obsession deepens. John Pankow his new partner, Debra Feuer, Darlanne Fluegel, and Dean Stockwell provide strong support, fleshing out the film's morally compromised world. John Turturro and Michael Greene as Jim Hart are particularly memorable.

The action sequences are expertly crafted, including a frantic, high-stakes, showstopper car chase that rivals Friedkin's own work in The French Connection. No-holds-barred shootouts and brutal hand-to-hand fights heighten the film's visceral intensity, while moments of nudity and raw violence reinforce its uncompromising approach. With its California noir, nihilistic crooked cops, and moral ambiguity, Friedkin's 80s offering is well-researched, sadly underrated, and clearly influenced the likes of Michael Mann, Richard Donner's Lethal Weapon, and Quentin Tarantino, to name a few.

With its hard-hitting story, unpredictable twists, and an unforgettable soundtrack, To Live and Die in LA is a masterclass in neo-noir crime thrillers-stylish, cynical, and relentlessly gripping.

Watership Down (1978) Review

 

A group of rabbits, led by Hazel and guided by the prophetic Fiver, escape their doomed warren in search of a new home. Facing predators, human threats, and the brutal rule of General Woundwort, they fight for survival and freedom.

Adapted from Watership Down Richard Adams’ 1972 novel Watership Down is a rare animated film that refuses to soften its themes, balancing beauty and brutality. The opening, a mythic creation sequence, was crafted by John Hubley, the original director, before Martin Rosen took over after Hubley's passing in 1977. Strangely, Hubley's contribution remains uncredited. Rosen's direction ensures the story remains gripping and mature, never talking down to younger audiences, making it both harrowing and deeply affecting.

The voice cast is exceptional-John Hurt's noble Hazel, Richard Briers' fragile yet determined Fiver, and Michael Graham Cox's strong-willed Bigwig. Harry Andrews brings menace to Woundwort, while Nigel Hawthorne and Zero Mostel add depth. Mostel also voices Kehaar, the sharp-tongued seagull who aids the rabbits. Hannah Gordon provides warmth as Hyzenthlay, one of the few female rabbits given a voice in the story. Denholm Elliott gives an eerie, detached quality to Cowslip, the enigmatic rabbit of a mysterious warren, while Lynn Farleigh lends a chilling presence as the menacing cat.

The hand-drawn animation, though simple, is richly atmospheric, enhancing the story's realism. The lush countryside contrasts with scenes of death and destruction, reinforcing its unflinching tone. The music, including Angela Morley's evocative score and Art Garfunkel's melancholic Bright Eyes, adds to the film's emotional power.

Overall, Watership Down remains a bold, haunting, and timeless tale of survival.

American Dragons (1998) Review

 

New York detective Tony Luca is paired with South Korean detective Kim after a failed sting, as they navigate a deadly Mafia-Yakuza conflict while facing cultural clashes and personal demons.

Orion's American Dragons (1998), also known as Double Edge and The First to Die, inexplicably skipped a release in the U. K. until 2005. Director Ralph Hemecker blends action and drama with shades of American Yakuza (1993) and Black Rain (1989). The cinematography by Ernest Holzman enhances the noir-like atmosphere, while Joel Goldsmith's score adds tension and intensity. The action sequences are a mixed bag-some are executed with precision, while others are less well executed. With scattered fistfights and shootouts the tense opening, alley fight, bowling alley encounter are particularly notable highlights.

Michael Biehn delivers a strong performance as the hardened Luca, bringing both edge and depth to his role. Park Joong-hoon holds his own, adding humor and charm. Cary-Hiroyuki Tagawa makes an impression as Matsuyama, though his screen time is limited. Don Stark as mobster Rocco injects energy, making his scenes particularly engaging.

The film strikes a balance between gritty action and lighter moments, offering amusing one-liners without veering into full buddy-cop comedy. Biehn shines and carries the film effortlessly.

While Hemecker's offering may not have the scale or reach the heights of likes of Red Heat (1988), it's still wonderfully atmospheric, embracing the fish-out-of-water dynamic, creating a stylish crime shoot-em-up.

Dog Soldiers (2002) Review

 

A group of army soldiers who, after discovering the bloody remains of a Special Ops squad, take refuge in a farmhouse-only to find themselves under siege by werewolves.

For many years, British cinema had become stale, dominated by rom-coms, comedies, and gangster films. Dog Soldiers arrived at a turning point for British horror, released the same year as a flurry of effective chillers, including 28 Days Later, The Bunker, and Deathwatch.

What prevents Dog Soldiers from becoming B-movie fodder is its strong script, gripping story, atmospheric lighting, and effective practical effects, with the werewolves kept largely unseen for maximum impact.

Writer-director Neil Marshall delivers a witty, claustrophobic thrill ride. The talented and memorable cast features Sean Pertwee as Wells, Kevin McKidd as Cooper, and Liam Cunningham as the shifty Special Ops Captain Ryan. The film's strength lies in making you genuinely care about the squad, giving it an emotional edge over similar horrors. The in-jokes are both subtle with some on the nose, yet the tone remains serious.

A near-perfect werewolf film, Dog Soldiers is packed with witticisms, action, and blood, delivering exactly what it promises-and more.

The Monster Squad (1987) Review

 

A group of monster-obsessed kids must stop Dracula and his classic creature allies from unleashing evil on their town.

Fred Dekker shifts from the adult-driven horror of House, House II, and Night of the Creeps* to a more child-focused adventure with The Monster Squad. Co-written by Shane Black and Dekker, the film blends Gremlins, E. T. and The Goonies vibes with classic monster horror. In a Hammer-style opening set in Dracula's castle, and ritual sets the stage. Though the story feels slightly choppy on occasion, likely due to editing or production changes, it remains a heartfelt love letter to Universal's legendary creatures.

The film excels in its creature designs, thanks to the legendary Stan Winston. Duncan Regehr delivers an intense, commanding Dracula, channeling a Hammer Horror menace. Tom Noonan's Frankenstein's Monster is both sympathetic and eerie, while Carl Thibault's snarling Wolfman and Tom Woodruff Jr.'s Gill-Man offer some of the film's best practical effects. Michael Reid MacKay's skeletal Mummy is brief but memorable.

The young cast is excellent, with Andre Gower as the fearless Sean, Robby Kiger as wisecracking Patrick, Brent Chalem as Horace (aka "Fat Kid"), and Ryan Lambert as Rudy, the group's cool, leather-jacketed rebel. Their natural chemistry brings the squad to life. Little Ashley Bank as Phoebe Crenshaw is notable along with Lisa Fuller's virgin Lisa Rhodes.

The strong supporting cast includes Stan Shaw as Detective Sapir, Stephen Macht as Sean's cop father, the late Mary Ellen Trainor as his struggling mother, and Leonardo Cimino as the wise, tragic "Scary German Guy."

High production values, atmospheric cinematography by Bradford May, and Bruce Broughton's sweeping score elevate the film beyond a typical 80s kids' flick. Like the best adventure films of the era, The Monster Squad doesn't shy away from suggestive moments, mild language, and darker themes, making it an entertaining ride for both kids and adults. While it flopped on release, it has rightfully earned its cult status as one of the great 80s horror-adventure films. And a sequel would be welcomed.

Psycho Sex Dolls (2024) Review​

 

A porno filmmaker whose business is crumbling due to industry disruption and his failure to pay his performers gets his hands on some state-of-the-art sex dolls, with dire consequences.  

Writer-Producer-Director David Wilde’s Psycho Sex Dolls is a bold and imaginative film that captures the spirit of decades of exploitation cinema, especially the 70s and 80s. With his unique blend of storytelling and homage to seedy classic Euro movies and horror, Wilde delivers exactly what is promised: a wild ride filled with T & A, dark humour, and sharp commentary on A.I. and the adult film industry.  

The film follows Damien Self, played wonderfully by Simon Weir. Weir’s performance as Self is nothing short of stellar (no pun intended), portraying a man clinging to his glory days with sheer desperation. His acting anchors the film, making Self’s downward spiral both compelling and tragically humorous.  

Perfectly cast, Stellar Paris shines in a dual role, capturing the essence of the adult industry with a performance that balances the control and disdain of the profession with moments of reward and joy. Her portrayal of a robot character eerily embodies both the dark and light sides of the work, adding layers to the film’s exploration of its humanity and A.I. themes, all amidst girl-on-girl kisses that echo 90s soft-core DTV thrillers and robot POV shots reminiscent of The Terminator and Westworld.  

The supporting cast does a great job of bringing their characters to life. Kieran Chalker offers weight as James Steel, leaving an impression, while the female cast members, notably Jamie Jones and Emma Cole, deliver memorable maniacal performances.  

With mature content, foul language from the outset, blood, knives, bats, and guns, Wilde pulls no punches, especially in the third act. The limited budget occasionally shows, but Wilde makes up for it with snappy dialogue, clever use of location space, and imaginative films-within-films, along with Stepford Wives vibes. The film’s bright colour timing matches the characters and costumes, adding a layer of vibrancy that contrasts sharply with its darker themes, creating a visually striking, snappy ride.  

Overall, Wilde’s visuals evoke the era of declining VHS rentals, the fall of analog, and the rise of digital and DVD. With nods to classics like A Clockwork Orange, Hammer Horror films, and Kill Bill to name a few, Psycho Sex Dolls is a creative, trashy (in the best sense), and nostalgic tribute to the films that inspired it, while standing on its own as a new chapter in modern exploitation.  

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.