After a severed hand from the destroyed wax museum frames Sarah for murder, Mark and Sarah leap through parallel dimensions of classic horror and fantasy stories to gather proof of her innocence.
Writer-director Anthony Hickox offers another imaginative outing, opening with a recap of the predecessor's fiery climax before an Addams Family Thing-like hand escapes the ruins and sets the chaos in motion. Gremlins' quirky lead Zach Galligan returns as Mark, but stunning Monika Schnarre's takeover of the Sarah role proves a jarring recast that takes time to settle.
The supporting cast is an endless parade of famous and familiar faces: Martin Kemp as Baron Von Frankenstein, Bruce Campbell as John Loftmore, Power Station's Michael Des Barres, Young Sherlock Holmes' Sophie Ward, Star Trek: TNG's Marina Sirtis, a young Drew Barrymore, John Ireland as King Arthur, Patrick Macnee returning as Sir Wilfred, Die Hard's Alexander Godunov, character actor legend George "Buck" Flower, and David Carradine.
Rather than simply revisiting classic monsters, Hickox abandons the wax museum for a dimension where fictional stories have become realities-Frankenstein, The Haunting, Alien, Godzilla, Nosferatu, Dawn of the Dead and more. Much like the original exhibits, Mark and Sarah are pulled into each new world and take on the personas of its characters.
As well as the time-door/portal device - the artefact that allows Mark and Sarah to travel through time - the film features a series of pop-culture objects and artefacts. These include Jason Voorhees' hockey mask from Friday the 13th, the Ark of the Covenant crate from Raiders of the Lost Ark, a Norman Bates-style wig and a knife resembling Norman Bates' murder weapon from Psycho, the key to Cabin 1 (a direct Bates Motel reference), and silver bullets (a werewolf nod that also humorously alludes to McKnee's role in The Howling and callback to the first Waxwork film).
The film then moves beyond isolated objects into full sequences and visual/audio references drawn from Psycho, Frankenstein, Nosferatu, Dr Jekyll and Mr Hyde, House of Wax, Jack the Ripper lore, Godzilla, Invasion of the Body Snatchers, Die Hard, The Haunting, The Legend of Hell House, Dawn of the Dead, Alien and Aliens, 2001: A Space Odyssey, Evil Dead II, The Shining, Monty Python and the Holy Grail, and Alice Through the Looking-Glass.
Gerry Lively returns behind the camera and improves the atmosphere throughout. Even though part two went straight to VHS, it looks more filmic than the theatrical-run original. Steve Schiff's music is solid at times yet doesn't always seem to fit. The film again benefits from some practical effects and, even though released in 1992, manages to retain a strong 1980s vibe.
While enjoyable, Hickox's Hellraiser III: Hell on Earth turned out much better. Faulty and flawed in places, but still good nostalgic fun for fans of the first.
A mysterious wax museum owner (David Warner, deliciously sinister) invites a group of young people to a private midnight viewing. Step beyond the rope of an exhibit and you enter its world - werewolf, vampire, mummy, Marquis de Sade and more - with deadly consequences.
Waxwork (1988), Anthony Hickox's debut is a terrific concept delivered with genuine affection for classic monster cinema. Hickox's energetic direction, Bob Keen's excellent practical effects and creature work, and the physical stunts give the film bags of 1980s charm.
Gerry Lively's cinematography and Roger Bellon's score - alongside the cheeky use of Lesley Gore's "It's My Party" - complete the nostalgic package.
However, it feels at times as if shots are missing, cut or unfilmed, possibly due to budget and time, which are not necessarily editing issues, just elements that don't exist. Also the characters and tone at times feels a little off and underwritten. That said, there's some great locations and sets and one-liners that hit the mark.
Zach Galligan (Gremlins) and Deborah Foreman (April Fools Day) make an appealing central pair and do there best with the material. While the memorable and alluring Michelle Johnson, Clare Carey and likeable Dana Ashbrook (Twin Peaks) provide solid support. Mihaly 'Michu' Meszaros (ALF) is notable. Kendall Conrad owns the mummy segment as the Girl in Pyramid leaving an impression. Warner relishes the opportunity to chew the scenery, Patrick Macnee adds wry authority as Sir Wilfred, and brief appearances from John Rhys-Davies as the werewolf and Miles O'Keeffe as Dracula are great fun.
The comedy is hit-and-miss, the pacing occasionally drags, and the final act suffers from choppy editing and awkward staging. Even so, Waxwork remains lively nostalgic fun, an effects-driven horror-comedy with plenty of imagination and atmosphere.
An infected, reanimated corpse spreads the infection and mutates its victims, creating even more human monsters.
Directed by David Irving, this very loose sequel to C. H. U. D. often feels more like a Return of the Living Dead sequel, and probably could have made a good one with a few tweaks, a proper night-time setting and more convincing zombie effects. As it stands, it shares little with its grounded, grimy 1984 predecessor - there are no sewer dwellers here.
Tricia Leigh Fisher is memorable as Katie, alongside Brian Robbins as Steve Williams and Bill Calvert as Kevin. Robert Englund also makes a blink-and-you'll-miss-it cameo. Gerrit Graham is solid and reliable in the lead role of Bud, while Robert Vaughn knows exactly what kind of film he is in. But you know something is up when a mutant zombie dog steals the show.
The night scenes are far too well lit, while the abundance of daytime sequences strips away much of the creepy atmosphere. Instead, it often plays like The Cannonball Run crossed with an episode of The A-Team, with a hint of Return of the Living Dead Part II, Dead Heat and Re-Animator thrown into the mix.
It is more of an infected-zombie film than a true toxic mutant C. H. U. D. follow-up, even referring to its creatures as zombies and the living dead.
Sadly, it really jumps the shark in the closing moments with a tacked on ending, although you do get a left-field cameo from Bianca Jagger, and the soundtrack is pretty good throughout.
Overall, as a sequel, it fails miserably. As a zombie film, it falls short of Return of the Living Dead Part II. However, some enjoyment can still be found if viewed as a standalone film, thanks largely to its likeable leads and 80s nostalgia.
Unlikely heroes get caught up in toxic waste leaking into the New York City sewers that transforms homeless people into cannibalistic monsters.
Director Douglas Cheek does his best with the limited budget, delivering a straight-faced creature feels like a time capsule with its 80s dirty streets, shadowed manholes and that unmistakable underground dampness. Peter Stein's cinematography captures the grime and grit effectively, while the electronic score by David A. Hughes, credited as Cooper Hughes, adds a chilly, synthetic pulse that heightens the unease.
Much of the action happens off-screen, with rubber clawed hands, and sound doing a lot of the heavy lifting-growls, scrapes and sudden violence are often more suggested than shown. When the creatures do appear, they are few and far between and a little rubbery around the edges, yet the talented John Caglione Jr's (Basket Case, Poltergeist III and many more) design has its moments, particularly their glowing eyes. The gore effects (severed heads and body parts) and stunts pack some genuine punch for the money, and the film plays its monster-movie beats without a hint of irony.
The vibe and story sit comfortably alongside Neon Maniacs and Alligator, carrying a touch of Jaws-style institutional cover-up and The Toxic Avenger's low-rent political edge, with its focus on a forgotten underclass.
Daniel Stern steals the show as A. J. the soup kitchen owner. The late John Heard, Kim Greist, and Christopher Curry give the material more weight than it strictly deserves. Also John Goodman appears in an early role as a cop.
The pacing and plot is a little loose and plodding. Still, for cheap thrills and pure nostalgia value, C. H. U. D. delivers a grubby, atmospheric slice of 1980s creature horror.
A hardened military reconnaissance squad are sent back into the unforgiving jungles of Vietnam but find themselves surrounded by prehistoric predators.
Written and directed by Luke Sparke, and adapted from Ethan Pettus's novel, the film is an impressively high-concept production. Sparke's contribution is all the more remarkable given the number of hats he wears here: director, writer, producer, editor and production designer. Whatever its imperfections, there is no denying the scale, ambition and sheer effort involved in bringing such an unlikely dinosaur war picture to the screen.
The cast provides the necessary backbone. Ryan Kwanten leads confidently as Sergeant Baker, while Tricia Helfer is equally welcome as Sofia, although it is difficult not to wonder why her natural accent could not have been incorporated as part of the character's cover. The supporting cast of create the feeling of a genuine military unit rather than simply a collection of disposable action-film soldiers. That said, the writing really pushes the 'likeable Platoon' characters too hard. Jeremy Piven also makes his presence felt as Colonel Amadeus Jericho.
Visually, Primitive War is something of a mixed bag, but often an impressive one. For the most part, the special effects work remarkably well, particularly considering the scale of what Sparke and his team are attempting. This is certainly a considerable step above the bargain-basement creature features associated with The Asylum, although it would be unfair to suggest it reaches the extraordinary technical standards of Industrial Light & Magic's Jurassic Park outings...
Then again, that comparison rather misses the point. Credit must be given for the sheer determination and ambition behind the production. There are moments when the dinosaurs genuinely convince, alongside others where the limitations inevitably show.
A tighter edit might have helped, trimming some of the less convincing effects rather than lingering on them, while greater discipline with the pacing could have maintained momentum throughout.
The music is another considerable strength, adding weight, atmosphere and a welcome sense of cinematic scale, particularly during the action sequences.
There is a genuinely good film at the heart of Primitive War, and perhaps that is why its occasional shortcomings are more noticeable. With a little more time, a larger budget and another pass in the editing room, Sparke might have had something truly exceptional on his hands.
As it stands, Primitive War remains an enjoyable and admirably ambitious ride, made with an obvious enthusiasm for dinosaurs, war movies and old-fashioned creature-feature spectacle. It may not always hit its target, but you cannot fault Luke Sparke and his team for taking the shot.An admirable ambitious dino ride.
Dr Larry Roberts, a plastic surgeon whose beautiful modelling clients begin dying under mysterious circumstances. When suspicion turns towards him, Roberts is drawn into a sinister world where technology, corporate greed and the manipulation of human desire collide.
Michael Crichton's Looker is one of those early-1980s thrillers whose ideas have grown more relevant with time. Beneath its glossy Beverly Hills surface lies a sharp examination of beauty, wealth, advertising, celebrity and the entertainment industry's relentless pursuit of physical perfection. Written and directed by Crichton, the film feels remarkably ahead of its time. Its observations on manufactured beauty, image manipulation and the commercial exploitation of appearance read as prophetic in an era of digital enhancement, artificial intelligence and ever more impossible standards of perfection.
The glamorous world is filled with striking characters-Susan Dey's Cindy Fairmont, Leigh Taylor-Young's Jennifer Long, Kathryn Witt's Tina Cassidy, Terri Welles's Lisa Convey, Ashley Cox's Candy, Donna Kei Benz's Ellen and Catherine Parks's Jan-yet Crichton treats that beauty as part of the commentary. Perfection is not merely admired; it is commodified, analysed and treated as something that can be owned.
Albert Finney is excellent as Larry Roberts, bringing intelligence and humanity rather than conventional leading-man glamour. He feels grounded amid the artificial surroundings, which is precisely why he works so well. Dey gives Cindy warmth and vulnerability; James Coburn is smooth and imposing as the powerful John Reston. Both Dorian Harewood and Tim Rossovich are memorable.
Crichton's direction is confident and stylish, blending science fiction, conspiracy thriller and Hollywood satire with impressive practical action. The stunt work stands out, particularly the spectacular balcony falls-one of them into a car-that still carry real impact. There is a physicality here that modern digital spectacle often lacks. Real-world locations and thoughtfully designed sets, complete with interesting futuristic touches, are immersive.
The concepts remain the film's strongest suit. Crichton understood the dangers of technology becoming inseparable from commerce and entertainment long before digital imagery became everyday reality. Some transitions and visual techniques now show their early-1980s origins, yet the ideas behind them stay startlingly modern.
Looker may not always receive the recognition of Crichton's better-known work, but it deserves rediscovery: an intelligent, glamorous and surprisingly prophetic science-fiction thriller with something genuine to say about high society, the modelling industry and the machinery of entertainment.
Watching Susan Dey today, one is struck by certain similarities of look and presence to Cara Delevingne; a contemporary remake with Delevingne in the central role could prove intriguing if handled with the same mix of style and satirical edge.
A stylish, thought-provoking glimpse into a future that, in many ways, has already arrived. Recommend and well worth checking out.
Dr Larry Roberts, a plastic surgeon whose beautiful modelling clients begin dying under mysterious circumstances. When suspicion turns towards him, Roberts is drawn into a sinister world where technology, corporate greed and the manipulation of human desire collide.
Michael Crichton's Looker is one of those early-1980s thrillers whose ideas have grown more relevant with time. Beneath its glossy Beverly Hills surface lies a sharp examination of beauty, wealth, advertising, celebrity and the entertainment industry's relentless pursuit of physical perfection. Written and directed by Crichton, the film feels remarkably ahead of its time. Its observations on manufactured beauty, image manipulation and the commercial exploitation of appearance read as prophetic in an era of digital enhancement, artificial intelligence and ever more impossible standards of perfection.
The glamorous world is filled with striking characters-Susan Dey's Cindy Fairmont, Leigh Taylor-Young's Jennifer Long, Kathryn Witt's Tina Cassidy, Terri Welles's Lisa Convey, Ashley Cox's Candy, Donna Kei Benz's Ellen and Catherine Parks's Jan-yet Crichton treats that beauty as part of the commentary. Perfection is not merely admired; it is commodified, analysed and treated as something that can be owned.
Albert Finney is excellent as Larry Roberts, bringing intelligence and humanity rather than conventional leading-man glamour. He feels grounded amid the artificial surroundings, which is precisely why he works so well. Dey gives Cindy warmth and vulnerability; James Coburn is smooth and imposing as the powerful John Reston. Both Dorian Harewood and Tim Rossovich are memorable.
Crichton's direction is confident and stylish, blending science fiction, conspiracy thriller and Hollywood satire with impressive practical action. The stunt work stands out, particularly the spectacular balcony falls-one of them into a car-that still carry real impact. There is a physicality here that modern digital spectacle often lacks. Real-world locations and thoughtfully designed sets, complete with interesting futuristic touches, are immersive.
The concepts remain the film's strongest suit. Crichton understood the dangers of technology becoming inseparable from commerce and entertainment long before digital imagery became everyday reality. Some transitions and visual techniques now show their early-1980s origins, yet the ideas behind them stay startlingly modern.
Looker may not always receive the recognition of Crichton's better-known work, but it deserves rediscovery: an intelligent, glamorous and surprisingly prophetic science-fiction thriller with something genuine to say about high society, the modelling industry and the machinery of entertainment.
Watching Susan Dey today, one is struck by certain similarities of look and presence to Cara Delevingne; a contemporary remake with Delevingne in the central role and a few tweaks could prove intriguing if handled with the same mix of style and satirical edge.
A stylish, thought-provoking glimpse into a future that, in many ways, has already arrived. Recommend and well worth checking out.
LAPD detectives Roger Mortis (Treat Williams) and Doug Bigelow (Joe Piscopo) investigate a wave of violent armed robberies carried out by reanimated corpses; when Mortis is killed in the line of duty he is briefly brought back to life and given a short window before decomposition sets in to solve his own murder and shut down the scheme.
Directed by Mark Goldblatt. Riding the coat-tails of fish-out-of-water buddy-cop hits such as Lethal Weapon (1987) and its near-namesake Red Heat (1988), Goldblatt's film delivers charmingly practical 1980s special effects and excellent make-up work. It never pulls its punches on the stunts or the gore, while the on-location shooting around Los Angeles with cinematography by Robert D. Yeoman gives the undead antics a gritty, atmospheric lift along with Ernest Troost's score.
Terry Black's script is hokey at times, yet several one-liners land cleanly and in amongst the shootouts, the central idea remains intriguing from the outset. The mortality theme hits harder than expected.
The cast is a real strength, with several familiar supporting faces including prolific actor Darren McGavin. The late great Treat Williams brings his customary straight-faced likeability as the determined Mortis; Joe Piscopo (a mini-Schwarzenegger in attitude if not quite in stature) is good fun as the wisecracking partner; Lindsay Frost is memorable and does solid work with the material she is given; and Clare Kirkconnell steals every scene she appears in with natural presence and believability as Dr Rebecca Smythers. Star Trek's Robert Picardo and Gremlins' Keye Luke also feature, alongside a welcome cameo from acting legend Vincent Price. Return of the Living Dead's Linnea Quigleyappears as an uncredited Go-go dancer along with writer director Shane Black as a motorcycle patrol man.
Overall, a bumpy but enjoyable lively buddy-cop zombie comedy ride thanks to the entertaining concept, 80s charm and special effects.
A college class called Psychology of Fear is taken over by a gun threatening teacher who insists on demonstrating the true meaning of fear; he invites a group of students to his house, where stories are told.
Not to be confused with After Hours (1985) or The Midnight Hour (1985), this modest American horror anthology was written and directed by brothers Jim and Ken Wheat (collaborators on The Fly II and A Nightmare on Elm Street 4: The Dream Master). Cinematography is by Phedon Papamichael, with music by Marc Donahue. It features three main stories framed by a wraparound narrative (a fourth "filler" segment), and while it never reaches the heights of Creepshow, Creepshow 2, Tales from the Darkside: The Movie or the later Trick 'r Treat, it remains more entertaining than most of its kind.
The segments include an elaborate haunted-house prank that goes disastrously wrong in "The Old Dark House", starring Munchies and Critters actress Nadine Van der Velde as Joan and Back to the Future actor Marc McClure as Kevin; this is the most atmospheric of the tales.
"A Night on the Town" follows four young women who run into a deranged homeless man and his vicious attack dogs. The memorable female leads are Judie Aronson (Friday the 13th: The Final Chapter) as Jennifer, Tracy Wells as Amy, Penelope Sudrow (A Nightmare on Elm Street 3: Dream Warriors) as Kelly, and Monique Salcido as Lisa. It has a strong urban-nightmare feel and excellent dog work.
In "All Night Operator", Alan Rosenberg is genuinely menacing as Richard, a celebrity stalker who terrorises night-shift operator Alex, played by Marg Helgenberger (CSI). Helgenberger carries the segment with real screen presence; it is tense and grounded.
Bookending the film is "Allison's Story", a jock's vengeance tale with a loop twist. Stand-outs are the intense Professor Edward Derek (Ramy Zada) and Jillian McWhirter as Allison (a pity she did not go on to more high-profile work), alongside famed voice actress Pamela Adlon (credited as Pamela Segall, later of Gate II) as Cheryl.
The 80s nostalgia and on location feel helps sell much of the on screen shenanigans. There are solid stunts throughout, the practical effects and pyrotechnics deserve a mention. Although the special effects are sparse, the film does feature a brief, impressive stop-motion skeleton in the closing act.
Overall it is all good fun, though never particularly scary, which is surprising given the now horror faces involved.
Spider-Man must stop a mysterious villain who, unlike everyone else, cannot enter his mind—while he undergoes profound changes of his own.
Tom Holland once again proves why he is one of the finest live-action Spider-Man since Nicholas Hammond first donned the mask in the 1970s. Carrying the emotional weight of Peter Parker with warmth, vulnerability and quiet determination, Holland delivers his strongest performance yet.
Director Destin Daniel Cretton brings genuine heart to the FX spectacle, packed with nods and also some more obscure comic callbacks. Writers Chris McKenna and Erik Sommers craft a story that embraces Spider-Man's comic-book roots, with the welcome inclusion of several beloved Marvel characters including Hulk and Punisher, to name a few. They have purpose and are not just slotted in. That said, there are many villain cameos thrown in for good measure from the get go, to show how hard Spider-man has been working.
Sadie Sink is excellent throughout, with her seemingly effortless screen presence. Zendaya and Jacob Batalon continue to shine as MJ and Ned, their chemistry with Holland remaining one of the franchise's greatest strengths, while Florence Pugh steals every moment with her extended cameo.
The action scenes feel few and far between, playing out with dot-to-dot, The Fallen, The Hidden and Jason Goes to Hell type vibes. And the bigger set-ups, including the Hulk and Scorpion have very little pay off. The stakes feel all left for the final act.
That said, Brand New Day is an emotional, often heartbreaking chapter that earns more than a few tears. Yet, at two hours and twenty-five minutes, it occasionally overstays its welcome. As with many Marvel productions, it suffers from a little too much padding between its strongest moments. But what about an adaptation of Spider-Man and His Amazing Friends next?
Overall, it's an entertaining, heartfelt adventure. Recommended.
Following the Baron Frankenstein's death at the hands of his murderous creation, Tania, his daughter, and his assistant, Dr Charles Marshall, continue the experiments, with just as much murderous intent as the roaming mindless creature.
There's something intriguing about Lady Frankenstein. Directed by Mel Welles, with Aureliano Luppi also credited as co-director, this 1971 slice of Euro-horror has Hammer vibes running through its veins, from its gothic settings and elaborate interiors to its deliciously macabre obsession with death, resurrection and the human body. Also, on all accounts, extra credit should be given to cameraman Riccardo Pallottini, who added those nice lightings; for instance, he used to place the camera, then he waited for the director; he also solved technical problems and so forth.
Joseph Cotten is terrific as Baron Frankenstein, and his limited presence is a poignant reminder of just what a sorely missed actor he is. Rosalba Neri, meanwhile, absolutely steals the show as his daughter, Tania Frankenstein. Those smoky eyes, perfect eyebrows and immaculate eyelashes barely conceal a deliciously cold and manipulative streak. Neri gives the film its real spark, turning Tania into an alluringly sinister successor to her father's work.
Tania and Charles's increasingly grisly solution leads to the film's most intriguing idea, a brain-transplant/body-swapping subplot that ultimately takes centre stage over actor Riccardo Pizzuti's hulking, lumbering Creature.
There are plenty of kills, some suitably grisly effects and a creature design that viewers will either embrace or absolutely hate.
The pacing can be a little slow getting there, but once Lady Frankenstein finds its rhythm, it pays off. The settings and sets are excellent, too, giving the whole affair that unmistakable Hammer-adjacent atmosphere.
It also shares some DNA with Hammer's The Vampire Lovers and Blood from the Mummy's Tomb; there's something particularly unsettling about placing a female protagonist at the heart of the horror and allowing her to become the real source of danger. Neri embraces that darker side beautifully.
The score by Alessandro Alessandroni is effective but surprisingly sparse; a few more musical cues might have given some sequences an additional jolt of atmosphere. And despite its reputation as an especially raunchy piece of Euro-horror, the nudity is relatively restrained by the standards of its reputation, and is arguably more tasteful and satisfying than Andy Warhol's Flesh for Frankenstein (1973).
Like many other films of the time, it ends abruptly, even if on a fiery, nudity-driven final moment, but Lady Frankenstein is an underrated little gem... atmospheric, strange, occasionally sleazy and considerably more entertaining once its various pieces finally fall into place.
There's plenty here for the old-school horror fan to enjoy. Recommended.
