The Prey isn’t a movie to be recommended lightly. You’ve really got to have spent some time mining the depths of the slasher subgenre in order to gleam any appreciation from this little oddity. It’s not particularly well made – padded to the nines with more wildlife footage than most nature documentaries and bogged down by the most lugubrious pace imaginable – and it fails at creating any substantial tension or suspense.
And yet, for all the valid criticism, there remains an allure to the proceedings that can be amazingly difficult to articulate.
A forest fire claims the lives of several gypsies leaving only a misshapen child to survive in the wilderness. It sounds like the set-up for a really bad punchline and, to an extent, it is. Thirty years later, six campers head to the North Point mountain peak for a weekend of rest and recreation only to discover that the gypsy boy is all grown up and ready for revenge. As a slasher movie, The Prey has some solid moments that come far too sporadically: Blood-soaked axes hack up unsuspecting victims, throats are torn out, and people are hurled off steep cliffs. John Carl Buechler handles the make-up FX amicably, although it looks suspiciously like the best parts were left to perish at the hands of the MPAA.
Anyone who’s seen this is likely to recall a considerable amount of nature footage spliced throughout. Many criticisms have derided the movie for going overboard with ‘stock footage’, but that’s not entirely fair. It appears as though the nature stuff was shot specifically for this (the end crawl credits someone for the footage) and director Edwin Brown uses it thematically within the story. Our resident monster is an intrinsic part of the forest, same as the animals and reptiles frequently shown, and watching owls and snakes stalk their prey gives the events a sense of foreshadowing. Admittedly, it smacks of overabundance – especially at the climax where we should be more focused on the survival of our characters – but it is successful in giving The Prey a palpable atmosphere. Watch it on a hot summer night, and you’ll feel this movie as much as you see it.
Porno director Edwin Brown crossed into mainstream exploitation with this, the only non-XXX film found on his resume. One assumes it was his pedigree that led to the rampant rumor of a ‘hardcore’ version of the film, complete with several full-on pornographic sex scenes, and that was the reason New World Pictures had to remove fifteen minutes from the film before releasing it. There’s no pornography in The Prey’s extended version, however, and the only difference is the inclusion of a twenty minute flashback sequence that ‘explains’ the origin of the tragic forest fire.
Woven into the film during the campfire scene (whereas the theatrical cut had the campers joking around and discussing astronomy), it’s a mini-narrative that establishes a smarmy gypsy’s affair with a local married woman. Some of the townspeople object to the presence of the gypsies and, after the adulteress is caught in a lie, she ‘admits’ to having been raped by the gypsy as a way of saving face with her husband. There’s also a prolonged gypsy dance sequence, a few bouts of gypsy sex and two rednecks swilling beer while planning their arsonist revenge.
The problem with this footage, however, is that it never really ties into the film. It’s just a LOT of needless exposition used to establish the tragedy of the forest fire – something that the audience is already aware of. Furthermore, veteran actor Jackie Coogan shows up near the climax of both versions to fill us in on the creature’s back story while alternatively discussing cucumber and cream cheese sandwiches. It’s unsurprising that New Word would’ve opted to lose this subplot in favor of a leaner film, although the sheer amount of female exploitation on display (no less than three pairs of naked breasts in a twenty minute flashback – well done!) surely must’ve given them pause. It’s hard to say whether or not The Prey works better with or without out it, although this bizarre sequence does give the film some distinguishable character.
But Brown never gets completely comfortable with the demands of ‘mainstream’ filmmaking. The kills lack the proper build up to be suspenseful while cast interactions are peppered with some of the strangest beats ever: awkward character pauses, clunky dialogue and baffling behavior (reference the waterfall scene where these late twentysomethings are getting such a kick out of splashing each other). There are some nice flourishes of humor that help offset some of these drawbacks though: the guys sit around talking about getting into the women’s pants while the ladies clamor for a romantic weekend underneath the stars. Nothing groundbreaking, but there are some amusing bits along the way.
In terms of the slasher himself, Lou – as the extended cut names him, he’s kept off camera for a large chunk of the duration. And it’s a bit of a let down once we finally glimpse him. The extended version builds lots of anticipation by referring to the boy as a hulking giant and both cuts feature a quick sequence of Coogan’s lazy ranger recalling seeing the monstrous child once. So we’re mighty anxious for the resident madman to rear his ugly head. That only problem is that he looks more like the Toxic Avenger in a tattered sweat shirt and less like the imposing specimen we were expecting. Whoops.
When you have a tagline like ”It’s not human, and its got an axe.”, expectations are understandably high. Unfortunately, in the case of The Prey, it is human, and it only uses an axe for two kills. To the majority of audiences, there isn’t much of a film here. But some thirty years after its release, it has maintained a somewhat steady group of devotees. It’s undoubtedly a lesser-tier horror film but, if you can buy into the slow pace and clunky edges, The Prey is an effective little backwoods slasher offering some vicious kills and a memorable, downbeat shock ending.
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Godzilla: Planet of the Monsters Review – A Timid Step Towards a Frightening Possibility
Starring Mamoru Miyano, Takahiro Sakurai, Kana Hanazawa, Yuki Kaji, Tomokazu Sugita
Directed by Kobun Shizuno and Hiroyuki Seshita
The Godzilla series is the longest-running franchise in cinema history. With over 30 films over a 60+ year career, the famous kaiju has appeared in video games, comic books, TV shows, and more, cementing its place as one of the most recognizable cultural icons in the past 100 years. With Godzilla: Planet of the Monsters, the titular beast makes its foray into the world of anime in this first film in a proposed trilogy. While there are moments that are genuinely thrilling, the film unfortunately fails to capture the imagination and wonder that is at its fingertips.
The story is quite simple: Earth is under attack by swarms of various kaiju who are wreaking havoc across the planet. Entire cities are being destroyed when Godzilla appears to vanquish humanity’s foes. Unfortunately, the King of the Monsters isn’t really there to help humans and its rampage continues until a race of alien beings arrive at Earth asking for a place to stay in exchange for defeating Godzilla. When they are unable to do that, the remaining humans board a giant spaceship to venture off into space in search of a new home only to come back some 20 years later, nearly 20,000 years later by Earth time (think Interstellar logic), to search for resources and, possibly, a planet that will welcome them once again. However, Godzilla is still around and isn’t keen on sharing.
The main character of the film is Haruo Sakaki, a young man who begins the film by nearly following through on a suicide bomber terrorist act that is meant to call attention to humanity’s loss of vision and failure to fulfill their mission of finding a suitable home for the remaining survivors. Even though he is accosted and jailed for this act, he is eventually freed when people realize that his lifelong passion of killing Godzilla is the foundation for research he’s done in finding a way to take down the creature…a plan that just might work. The other characters are so forgettable that I forgot their names during the film.
From there, the film essentially pivots into following a massive team of volunteers who land on Earth’s surface to lay a trap for Godzilla in order to destroy it. Since this is Earth 20,000 years after they left, the flora and fauna have evolved and changed so radically that the team have no idea what to expect or how to react, so caution is a must.
The problem with this is that while the characters have to be cautious, the film doesn’t nor should it. The movie has the chance to explore the wealth of imaginative opportunities at its fingertips and yet does almost everything it can to avoid doing just that. The color scheme is flat and uninteresting. The character movements lack smoothness and the action sequences fall victim to shaky cam syndrome. There are a few mentions of some of the changes that have taken place on the planet, such as razor sharp plants, but they’re so incidental or offhand that it feels like no one making the film has any interest in seeing anything other than man against beast.
Speaking of this dynamic, the action sequences are quite entertaining but also feel somewhat reserved. Godzilla barely moves and much of the destruction levied against the humans is seen from a distance, apart from an attack on a military outpost by dragon-like creatures. For nearly the entire film, I found myself thinking, “I’m okay with this but that’s about it.”
The brightest moment in the film are the last few minutes and I won’t spoil what happens. Suffice it to say that it definitely has me interested in the second and third films but I really hope that this new world will be explored further in those entries. Otherwise, we’ve got a fascinating foundation that will be squandered.
Godzilla: Planet of the Monsters is a bland entry in a trilogy that has great potential. For a first course, there’s a distinct lack of flavor or complexity. The final minutes are the only saving grace and I hope that the second and third films make use of that grand wonder.
Satan’s Cheerleaders Blu-ray Review – Sacrifice This Snoozer At The Altar!
Starring Jack Kruschen, John Ireland, Yvonne De Carlo, Jacqueline Cole
Directed by Greydon Clark
Distributed by VCI
The ‘70s. Satanism. Sultry cheerleaders. Sex appeal. With these tools nearly any low-budget filmmaker should be able to turn out something that is, at the very least, entertaining. The last thing a viewer expects when tuning in to a film called Satan’s Cheerleaders (1977) is to be bored to tears. But that is exactly the reaction I had while watching director Greydon Clark’s wannabe cult comedy. Even on a visual level this film can’t be saved, and it was shot by Dean Cundey! No, unfortunately there isn’t a cinematic element in the world that can overcome a roster of bad actors and a storyline so poorly constructed it plays like it was written on the day. The only saving grace, minor as it may be, is the casting of John Ireland as Sheriff B.L. Bubb (cute), a hard-nosed shitkicker who adds all the gravitas he can muster. But a watchable feature cannot be built upon the back of a single co-star, as every grueling minute of Satan’s Cheerleaders proves.
The cheerleaders and jocks of Benedict High School rule the campus, doing what they want, when they want, with little else on their minds except for The Big Game. Their belittling attitudes rub school janitor (and stuttering dimwit) Billy (Jack Kruschen) the wrong way. What they don’t know is Billy is (somehow) the head of a local Satanic cult, and he plans to place a curse on the clothes (really) of the cheerleaders so they… suck at cheerleading? Maybe they’ll somehow cause the jocks to lose the big game? When Billy isn’t busy plotting his cursed plans, he spies on the girls in the locker room via a hidden grate in the wall. I guess he doesn’t think being a sexual “prevert” is fair trade enough; might as well damn them all, too. Billy has his own plans to kidnap the girls, for his Lord and Master Satan, and he succeeds with ease when the girls’ van breaks down on the highway; he simply offers them a ride and they all pile in. But when Ms. Johnson (Jacqueline Cole) gets hip to his plan the two tussle in the front seat and Billy winds up having a heart attack.
The squad runs off in search of help, coming across the office of Sheriff B.L. Bubb (John Ireland), who, as the name implies, may be a legit Satanist. Bubb invites the girls inside, where they meet his wife, Emmy (Yvonne De Carlo), High Priestess of their quaint little satanic chapter. While the girls get acquainted with Emmy, Bubb runs off to find Billy, who isn’t actually dead. Wait, scratch that, Bubb just killed him for… some reason. The girls figure out things aren’t so rosy here at the Bubb estate, so they hatch an escape plan and most make it to the forest. The few that are left behind just kinda hang out for the rest of the film. Very little of substance happens, and the pacing moves from “glacial” to “permafrost”, before a semi-psychedelic ending arrives way too late.
“Haphazard” is one of many damning terms I can think of when trying to make sense of this film. The poster says the film is “Funnier Than The Omen… Scarier Than Silent Movie” which, objectively, is a true statement, though this film couldn’t hope to be in the same league as any of the sequels to The Omen (1976) let alone the original. It is a terminal bore. Every attempt at humor is aimed at the lowest common denominator – and even those jokes miss by a wide berth. True horror doesn’t even exist in this universe. The best I can say is some of the sequences where Satan is supposedly present utilize a trippy color-filled psychedelic shooting style, but it isn’t anything novel enough to warrant a recommendation. Hell, it only happens, like, twice anyway. The rest of the film is spent listening to these simple-minded sideline sirens chirp away, dulling the enthusiasm of viewers with every word.
A twist ending that isn’t much of a twist at all is the final groan for this lukewarm love letter to Lucifer. None of the actors seem like they know what the hell to be doing, and who can blame them with material like this? I had hoped for some sort of fun romp with pompoms and pentagram, like Jack Hill’s Swinging Cheerleaders (1974) for the Satanic set, but Clark provides little more than workmanlike direction; even Cundey’s cinematography is nothing to want on a resume.
Viewers have the option of watching either a “Restored” or “Original Transfer” version of the 1.78:1 1080p picture. Honestly, I didn’t find a ton of difference between the two, though the edge likely goes to the restored version since the title implies work has been done to make it look better. Colors are accurate but a little bland, and definition just never rises above slightly average. Film grain starts off heavy but manages to smooth out later on. Very little about the picture is emblematic of HD but given the roots this is probably the best it could ever hope to look.
Audio comes in the form of an English LPCM 2.0 track. The soundtrack sounds like it was lifted from a porno, while other tracks are clearly library music. Dialogue never has any obvious issues and sounds clear throughout. Subtitles are available in English SDH.
There are two audio commentary tracks; one, with director Greydon Clark; two, with David De Cocteau and David Del Valle.
A photo gallery, with images in HD, is also included.
- Audio commentary with director Greydon Clark
- Audio commentary with filmmakers David De Cocteau & David Del Valle
- Photo gallery
Although the title is enough to reel in curious viewers, the reality is “Satan’s Cheerleaders” are a defunct bunch with little spirit and no excitement. The ’70s produced plenty of classic satanic cinema and this definitely ain’t it.
A Demon Within Review – Familiar Possession Beats To A Dreary Tune
Directed by Ayush Banker and Justin LaReau
Possession flicks don’t often hold a long shelf life in the horror community, with Ayush Banker and Justin LaReau’s A Demon Within suggesting why. Hands emerging from the darkness, exorcisms, anxious priests – you’ll see it all again as you’ve seen it before. Early scenes glimmer a polish unlike equal indie products, but that’s just the devil playing tricks on you. Once the film’s main satanic takeover begins, cursing teens and stony glares become the been-here-before norm. Low-budget filmmaking isn’t an immediate detractor like some high-society snobs may believe, yet it’s surely no excuse either. Today’s review being an example of both mindsets.
Charlene Amoia stars as Julia Larsen, a divorcee who moves into Crestwick, Illinois looking for a clean start with daughter Charlotte (Patricia Ashley). Their dusty toucher-upper is a quaint, aged farmhouse in the middle of nowhere, complete with electrical issues and weird noises at night. Nothing to worry about, right? Julia’s focus is better directed towards town doctor Jeremy Miller (Clint Hummel), who she immediately hits it off with (after almost hitting *him* with a car). She’s eating stir-fry at his place one night, all things going well, and that’s when it happens – Charlotte is possessed by an evil force who enacts its sinister plan. Charlotte may physically be present, but only as a vessel for “Nefas.”
Without hesitation, A Demon Within lays predictable groundwork as small-town haunters have for decades. Charlotte’s new home is already infested with a spiritual squatter, Jeremy bottles (and drinks down) a blemished past that’s exposed too late, there’s plenty of characters sneakin’ up on one another – never with much “oomph.” Charlotte’s teeny-bopper voice drops to truck-driver deep at the height of possession, but it’s a distracting sound design that alone strikes little fear. Serious scares are attempted, be it a pitch-black basement slashing or Charlotte’s hide-and-seek pounce, just never delivered. An inconsequential failure to unite tone and atmosphere.
Performances are…well…rigid, to say the least. Amoia and Ashley strike a surprisingly likable chemistry as living humans, but once Ashley goes demonic, chemistry bottoms out. The way A Demon Within positions Charlotte when possessed is utterly dull and undefined; Ashley playing an unenthusiastic harbinger of death. It’s bad enough that Hummel’s tortured doctor masters the emotional range of Mona Lisa and the town’s pastor is hardly a scene stealer – but to have a demon be so vanilla (without a side of nuts, no less)? Getting past the limited lighting and Charlotte’s manly demon voice is hard enough, let alone her mostly relenting threats.
Making matters worse, the film’s third act is hardly a religious salvation that flows with ease. I had more fun watching Julia stammer over pizza and beers with Jeremy than their final fight against ghastly hellspawns. The truths of Jeremy’s past leak out in flashback form, only to reveal his stubborn inability to comprehend one’s own possession encounter in the very house Julia bought (useful information, eh?). The local priest shows up in the nick of time, a few cutaway jolts attempt cheap thrills, and some holy water mucks up an old painting – but again, minimal notability. Er…not even minimal? Shaky last-minute framing makes it hard to even notice the touch-ups to Charlotte’s face that signify her unholy imprisonment, even worse than blackened CGI mists.
A Demon Within tries, fumbles, and tries some more, but it’s best treated as a reminder of better exorcism stories that exist elsewhere. Even something like The Vatican Tapes is an improvement over this possessive redundancy, hokier than the honky-tonk love song that plays atop a pizza-chain flirt scene. There’s something to be said about getting out and creating original horror, but herein lies the problem – this ain’t *that* original. With harsher scares and tension, such a fate could be ignored. As-is? It’s hard to see past anything more than a January release placeholder.
A Demon Within is a seen-it-before possession thriller that brings nothing new to the conversation. Not the worst, but also not a “hidden secret.”
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