Directed by Alan Smithee
Who sucked all the fun out of the room? It was more or less inevitable that any follow up to Maniac Cop 2 (1990) was going to be inferior, but it’s unlikely anyone knew Maniac Cop 3: Badge of Silence (1993) would be this bad. Anyone except for Bill Lustig and the production team, however, since Lustig walked off the picture as director, forcing the film’s producer to step in and helm the remainder of the film. Yikes. The fact is the film had problems before cameras had even started rolling, and the finger can be pointed to various individuals depending on who you’re asking. What’s indisputable is that this voodoo-heavy final entry is the weakest in the series. It isn’t even ironically bad, or humorously bad – it’s just bad bad, mostly. Only a few minor plot points and Robert Davi’s steadfast portrayal of Det. McKinney keep this entry from being a total slog. If anything, the resulting film serves as a testament to how difficult making a picture truly is, and when one succeeds so well it’s often muddled when the time comes for everyone to try getting lightning back into that bottle. They say success can sometimes kill a business, and it’s just as true in the movies. Despite the success of its predecessor, this third entry only got half the budget. And Lustig had grown accustomed to shooting the series like they were big pictures, which is another reason he left the production. Ultimately, it’s a bit of a miracle Maniac Cop 3: Badge of Silence was actually completed and edited into a mostly-coherent film. But it’s hard to make an argument that it comes close to living up to the series’ other entries.
Just as with the last film, Maniac Cop 3 picks up right after the end credits of the previous film, with Cordell having escaped his burial site thanks to a voodoo ritual some shaman performs for him. Meanwhile, a couple of corrupt cameramen come across a robbery in progress when Officer Kate Sullivan (Gretchen Becker) steps in and tries to negotiate a hostage situation. Turns out it’s an inside job, and one of the robbers shoots her right after she puts a couple slugs in the “hostage”. All of this is captured on video by the news team. But these guys are unscrupulous, so they edit the footage to make it look like Kate intentionally shot the hostage because scandal pays more than truth. The media runs wild with the story, but Kate is left brain dead following her shooting and is unable to tell her side of the story. The department decides to throw her to the wolves, discrediting her name and drawing the attention of Maniac Cop in the process. Taking on cops that are corrupt is sorta his thing, after all. You know who else is out to clear Kate’s name? Det. McKinney (Robert Davi), who finds himself unwittingly teamed up (sort of) with Cordell, taking on the high ranks of the establishment in order to see those in control held accountable. That partnership is tenuous at best, though, and it isn’t long before McKinney would just as soon see Cordell dead for good.
Ah, geez, where to begin. The first problem the film had was shooting without a completed script. Larry Cohen, for whatever reason, hadn’t turned in a final draft to producers by their deadline, which should have been the first indication that production shouldn’t get underway. But it did, because producer Joel Soisson (who also became the director) went ahead and wrote portions of the screenplay himself based on the rough outline Cohen had provided months earlier. This wasn’t entirely a bad idea since he had previously received a writing credit for the 1986 cult classic Trick or Treat. Still, Soisson isn’t Cohen, and nobody writes like Cohen, so to attempt emulating his style while also guessing where he would have taken the script was a fool’s errand. But movies don’t care, and once those wheels were in motion Soisson had to think quickly.
Ironically, the best part of the film almost got left out. Robert Davi was not the intended lead, which would have been a Haitian refugee cop who had a background dealing with voodoo. This obviously would have helped the voodoo angle made any damn sense. But they couldn’t sell a black man as the lead to the Japanese market, so Davi was brought back on board with an even meatier role. Cordell is practically a co-star in this film, because the majority focuses on Det. McKinney and his street level detective work to clear Kate of any wrongdoing. As an added bonus, we get a mini Die Hard (1988) reunion thanks to both Paul Gleason and Grand L. Bush joining the cast.
Robert Forster also appears here in a very brief role as a head doctor who winds up as another one of Cordell’s victims. But it’s his unintentionally hilarious expression before he gets it that makes his fleeting time with us memorable. Jackie Earle Haley shows up as a scummy robber, looking grimy and unkempt. It’s funny how these films have turned into a who’s-who type situation as many of the smaller names went on to big things.
Cordell’s makeup isn’t quite as bad as the first film, but it might as well be because they jettisoned the iconic look of that had been introduced last time. As usual, he’s mostly glimpsed in shadow or shot from the rear, but when the film does decide to show him you’d rather he just went back into the darkness. It would’ve been awesome to see a company like KNB tackle this project; the makeup used here is lacking in so many ways.
Oh man, the film almost lost me when they started showing Cordell’s imprisonment flashback scene again. Fans will remember the long, laborious sequence (which, oddly enough, feels all too rushed and underwritten) where Cordell is taken into prison, taunted, and then he showers and fights attackers in very slow motion. That scene felt longer than the rest of the film. Then, they showed it in its entirety in the sequel, which quite honestly is the only slow part of that film. So, when the footage started up again here I assumed the filmmakers had become desperate. Luckily it was slightly altered, but, man, talk about filler.
Luckily, we’ve still got Spiro Razatos on board as stunt coordinator. Since Lustig left the picture, and it had a smaller budget, the action isn’t nearly as big as the last time. That’s not to discredit Razatos’ work, since there’s still amazing stuff like a lengthy car chase with a stunt man on fire the entire time. It’s the kind of thing no production would ever do again. Ever. It would be CGI and that would be the end of it. The action in these films is almost better than the horror.
It would have been interesting to see Cohen’s original script filmed (a synopsis of it is included as an extra here) because the vibe he and Lustig were going for was Bride of Frankenstein (1935). There are hints of that plotline woven throughout the film’s climax, and it would have been at least been more entertaining than this voodoo malarkey. Maniac Cop seems to work best when he’s got a partner to balance him out. Maniac Cop 3 should have been a better film, so it’s frustrating to see what was presented. If nothing else, it’s worth watching to see Robert Davi sink his teeth into a leading role. As the closing film to the series, it’s a shame they couldn’t have worked out a better film.
Even though this is a bastard stepchild to Bill Lustig, that didn’t stop him from giving it the royal-ish treatment for its blu-ray debut. Like the last film, this one was scanned at 4K from the original camera negative, making this the best anyone has ever seen the film. Bucking the trend set by the previous two films, this one was lensed in scope 2.35:1, something that does aid in making the film look grander than it is. This entry has a palette steered toward steely blue hues and warm, red tones. The picture is sharp and clean, free of debris and scratches. There’s a moderate layer of grain, preserving the cinematic aesthetic. Detail remains strong, even in the shadows which is important because this film was shot with low lighting. The English DTS-HD MA 5.1 surround sound track provided here is sonically less impressive than the last film’s robust audio. The sound field is narrower here, and although dialogue is still balanced well in the mix there’s a confinement to the rest of the audio. Maybe it’s just because composer Joel Goldsmith’s score isn’t all that memorable, coming across as too subtle and not terribly worth remembering aside from the Maniac cop theme. Rears still provide subtle support to the background, but overall this just isn’t very active aside from a few action set pieces.
Lustig opted not to record a commentary for this film, and watching the included short documentary, “Wrong Arm of the Law: The Making of Maniac Cop 3”, it’s easy to understand why. This piece, running for 25 minutes, is a warts-and-all, completely unvarnished account of what went wrong with this picture. Input is given from Lustig, Soisson, Cohen, and other cast & crew. What’s really interesting is to hear the different takes on the production everyone has, making this like an unintentional Rashomon (1950) or something. Hear shocking tales, like how the first rough cut of the film – which included all the footage they’d shot – ran for 51 (!) minutes. Sounds like it was a nightmare behind the scenes. The disc also includes seven deleted scenes (in full HD) that are mostly minor dialogue extensions and exposition, nothing crucial or noteworthy. There is also a theatrical trailer included, and another poster & still gallery featuring a couple dozen images. As a very cool bonus, the disc also includes a few pages of Larry Cohen’s original treatment for the sequel. Things would have gone in a very different direction, one that had echoes of Bride of Re-Animator (1989).
Maniac Cop 3: Badge of Silence is the unfortunate victim of bad blood behind the scenes, something that can (and has) befall many a film. It only manages to stay above water thanks to a powerhouse performance from Robert Davi (if only they allowed him to sing, too) and some eye-catching stunt work from Lustig’s usual crew. But outside of that, it’s as forgettable as any other poorly-planned sequel.
2 1/2 out of 5
3 out of 5
Hell Night Blu-ray Review – Mischief & Mayhem At Mongoloid Manor
Starring Linda Blair, Peter Barton, Suki Goodwin, Vincent Van Patten
Directed by Tom DeSimone
Distributed by Scream Factory
1981. Prime time for the slasher film, when studios were more than content to pump out one after another since production cost was often so low. The downside, though, was that many wound up being formulaic and, eventually, forgotten. Time has allowed the cream to rise to the top of that crop and while Hell Night (1981) isn’t among the best it does stand out due to some novel choices made by director Tom DeSimone and executive producer Chuck Russell, the man responsible for some of the most consistently entertaining horror films of the ‘80s. A dilapidated mansion, oozing with gothic atmosphere, stands in place of a college campus or generic forest setting. Characters are dressed in formal costume; a stark departure from typical ‘80s teen garb. The film is half haunted house, half crazed killer and there is a not-entirely-unexpected-but-definitely-welcome twist at the end providing a solid jolt to a beleaguered climax. Fans are rightly excited to see Hell Night makes its debut in HD, though the final product is still compromised despite Scream Factory’s best efforts.
It’s Hell Night, every fraternity brother’s favorite evening; when new recruits are tormented in hazing rituals from, well, Hell. Peter (Kevin Brophy), president of the vaunted Alpha Sigma Rho house, comes up with the brilliant idea to have four pledges – Marti (Linda Blair), Jeff (Peter Barton), Denise (Suki Goodwin), and Seth (Vincent Van Patten) – spend the night in a decaying mansion. But this isn’t just any old house, as Peter regales a rapt audience – this is where former owner Raymond Garth killed his wife and three malformed children before hanging himself, sparing only the life of his son, Andrew, who was rumored to reside within the place after the murders. The pledges enter Garth Manor and quickly pair off, with Marti and Jeff getting intellectual while Denise and Seth take a more physical path.
A few hours pass and Peter returns with some of his bros, planning to initiate a few good scare pranks they set up earlier that week. The chuckles don’t last long, though, because Jeff and Seth quickly find the shoddy wiring and poorly placed speakers rigged upstairs. What they don’t know is that there is an actual killer on the loose, and he just decapitated one of the girls. Leaving the labyrinthine home proves difficult, with Marti & Jeff getting lost within the catacombs beneath the estate, evading their mongoloid menace however possible. Seth, meanwhile, has to scale a massive spiked fence if they hope to get any help way out here. Wait, didn’t Peter mention something about Andrew having a sibling?
The production team on this picture was a beast, and I’m convinced that’s the chief reason why it came out any good at all; specifically, the involvement of Chuck Russell and Irwin Yablans. I give a bit less credit to director Tom DeSimone, who up to that point (and after it) filled his filmography with lots and lots of gay porn; storyline and direction are usually secondary in that market. Hell, they even had Frank Darabont running around set as a P.A. which is just a cool fact because nobody listens to P.A.s on a film set. Music is just as important, too, and composer Dan Wyman is a synth master who worked with John Carpenter on his early films. His score here is reminiscent of those lo-fi masterpieces.
Solid atmosphere and rounded characters make all the difference. Instead of a roster of stereotypical sophomoric faces the bulk of the film focuses on four individuals with personality and a bit of depth. Blair makes a good turn as the bookish good girl type, while Barton is a charming match for her mentally, showing interest in more than just a drunken hookup. Denise and Seth are both superficial, and their interactions inject the most humor into the film. Denise continually calling Seth “Wes” is one example. A good horror film gets the audience invested in who lives and dies, and while I won’t go so far as to say these are exemplary characters the script does make them three-dimensional and not so paper thin.
The 1.85:1 1080p image is sourced from a 4K restoration of an archival 35mm print with standard definition inserts. This is a step up from Anchor Bay’s old DVD but not by leaps and bounds. Colors attain greater saturation and definition is tightened but the picture looks awfully soft too often and the jump between HD and SD footage is plain as day. The print displays vertical scratches and white flecks. Black levels are decent but there is clear room for improvement across the board. To their credit this is the best image Scream Factory was able to produce but fans should temper expectations going in because this is not a pristine picture by any means.
There is nothing wrong to be found with the English DTS-HD Master Audio 2.0 mono track, which does a fine job of carrying the dialogue alongside Dan Wyman’s sinister synth soundtrack. Direction is limited and the presentation is routine, but no problems were detected and the track capably supports the feature. Subtitles are available in English.
Here is where Scream Factory does their best to make up for the shortcomings of the a/v presentation: a ton of extra features.
An audio commentary track features actress Linda Blair, director Tom DeSimone, and producers Irwin Yablans & Bruce Cohn Curtis.
“Linda Blair: The Beauty of Horror” – This is a recent discussion with the actress, who covers her run in the genre in addition to diving deep into this film’s difficult production.
“Hell Nights with Tom DeSimone” – Shot on location at the Garth Manor (actually Kimberly Crest Estate in Redlands, CA), DeSimone reflects back on shooting the film there over 35 years ago.
“Peter Barton: Facing Fear” – The actor offers up expected discussion, covering his career in horror and navigating the Hollywood scene.
“Producing Hell with Bruce Cohn Curtis” – This covers more of the behind-the-scenes work that went into making the movie.
“Writing Hell” – Screenwriter Randy Feldman offers up some insight into his process for creating the story and writing the script.
“Vincent Van Patten & Suki Goodwin in Conversation” – The two actors, who have not seen each other in quite some time, sit down together for a back-and-forth discussion.
“Kevin Brophy & Jenny Neumann in Conversation” – This is another chat conducted the same way as Van Patten & Goodwin.
“Gothic Design in Hell Night” – Art director Steven Legler talks about his process for turning Garth Manor into how it is seen on film; evoking the right chilling atmosphere.
“Anatomy of the Death Scenes” – Pam Peitzman, make-up artist, and John Eggett, special effects, scrutinize each of the film’s kill scenes and discuss what went into achieving them.
“On Location at Kimberly Crest” – DeSimone guides viewers on a tour of the “Garth Manor” as it can be seen today.
A theatrical trailer, two TV spots, a radio spot, and a photo gallery are the remaining features.
- NEW 4K Scan of the film taken from the best surviving archival print
- NEW interviews with actors Linda Blair, Peter Barton, Vincent Van Patten, Suki Goodwin, Kevin Brophy and Jenny Neumann
- Audio Commentary with Linda Blair, Tom DeSimone, Irwin Yablans and Bruce Cohn Curtis
- Original Theatrical Trailer & TV spots
- Blu-ray Disc Exclusives:
- NEW interview with Director Tom DeSimone
- NEW interview with Producer Bruce Cohn Curtis
- NEW interview with Writer Randolph Feldman
- NEW – Anatomy of the Death Scenes with Tom DeSimone, Randolph Feldman, Make-up artist Pam Peitzman, Art Director Steven G. Legler and Special Effects artist John Eggett
- NEW – On Location at the Kimberly Crest House with Tom DeSimone
- NEW – Gothic Design in Hell Night with Steven G. Legler
- Original Radio spot
- Photo Gallery featuring rare, never-before-seen stills
“Hell Night” overcomes being lumped in with standard slasher fare thanks to dripping atmosphere, unique production design, and characters that elicit some empathy. The a/v presentation leaves much to be desired but a plethora of bonus features softens that blow.
The Open House Review – Abandon Hope All Ye Who Enter Here
Written by Matt Angel and Suzanne Coote
Directed by Matt Angel and Suzanne Coote
Mere weeks, even days, after effusively beating Netflix’s original horror content drum (The Babysitter, Before I Wake, Creep 2), I’m here to confirm that The Open House is emptier than an vacant bomb shelter. Cold, unappealing and thoughtlessly plotted to the point where “generic” would have been an improvement. From the moment we’re welcomed into Matt Angel and Suzanne Coote’s scripted imprisonment, it’s nothing but loose floorboards and busted plumbing. The home invasion genre has rarely been navigated with such little attention to detail, asking for our suspension of coherent storytelling early, often, and without earning the right to be deemed mindless genre fun. Not even Ty Pennington could save this extreme renovation disaster.
Dylan Minnette plays Logan Wallace, a track star and student who must find closure after watching his father fall victim to a fatal car accident. It is his mother Naomi’s (Piercey Dalton) idea to spend a little time away from their suburban home – escape those painful memories – so they retreat to her sister’s luxurious mountain getaway. The catch? It’s in the process of being sold and open houses are on the regular, so Naomi and Logan must vacate their temporary premises on certain days. It’s after one of these very showings that Logan begins to notice slight changes around the house, and he fears that an unwanted visitor may be in their midst. Guess what? He’s right.
To understand how little The Open House cares about conscious blueprinting, just read the poster’s tagline. “You can’t lock out what’s already inside” – right, but you could have prevented them from coming in, or checked the house to make sure they weren’t squatting, or explored numerous other possibilities to avoid this scenario. The mansion’s realtor allows prospective buyers to come and go but it’s not her job to make sure no one’s hiding in the basement? Naomi can’t even keep track of the *single* visitor she lets look around the house? It’s infuriating to see so many people neglect safety out of forced coincidence because the script couldn’t rationalize the killer’s entry any other way – a confounding strike one.
This is also a film that admits no reasoning for why its own murderer has targeted the Wallaces, or why he stokes a violent fetish when it comes to open houses. We never actually see his face, just his imposing handyman-looking attire, nor do we savor any kind of tangible backstory (his family died during their own open house and he suffered a psychotic breakdown – just give me *something*). His undefined form never demands curiosity like John Carpenter’s “The Shape” once did, because scripting is nothing more than bullet notes for basic horror movie necessities. Here he is, your bad guy – too bad he’s introduced without fear, handled without originality and unable to characterize beyond torturous kidnapper dotted lines. He’s just, you know, a guy who sneaks into open houses and kills – COMPLETE WITH A FINAL PAN-IN ON AN OPEN HOUSE SIGN WHEN HE MOVES TO HIS NEXT TARGET [eye roll into infinity].
Every scene in The Open House feels like an afterthought. “Ah, we need a way to build tension – how about a senile local woman who lives down the street and wanders aimlessly into frame?” Overplayed and in no way suitable to most her inclusions, but sure. “Oh, and we need inner conflict – what about if the breaker-iner steals Logan’s phone and frames him for later acts?” I mean, didn’t Logan canonically lose his phone even before Naomi’s mid-shower water heater issues – but sure, instant fake tension. “How are people going to believe the killer is always around and never blows his cover – think they’ll just buy it?” No, we don’t. Worse off, his cat-and-mouse game is dully repetitive until a finale that skyrockets intensity with jarring tonal imbalance. This closing, dreadful end without any sort of redemptive quality. More abusive than it is fulfilling.
If there’s anything positive worth conveying, it’s that Minnette does a fine job shuffling around as a character with severe sight impairment. The killer makes a point to remove his contacts as a final “FUCK YOU,” just to toy around a bit more, and Minnette frantically slips or stumbles with nothing more than foggy vision. Otherwise, dialogue finds itself ripped form a billion other straight-to-TV Logo dramas about broken families, no moment ever utilizing horror past a few shadowy forms standing in doorways after oblivious characters turn away. You can’t just take an overused subgenre and sleepwalk through homogenized beats…case and god-forsaken point.
Even as a streamable Netflix watch, The Open House is irredeemable beyond fault. The walls are caving in on this dilapidated excuse for home invasion horror, benefiting not from the star power of a temperamental Dylan Minnette. I have seen most involved players here in far better projects (Minnette’s stock has rightfully been skyrocketing, Matt Angel in The Funhouse Massacre, etc), but this is bargain bin theatrics without a fully formed idea. A nameless villain, doomed nice guy (Sharif Atkins), woefully unaware plot advancement – all the worst cliches found in one rage-quit worthy effort. Anyone who makes it through deserves an award…or a dunce cap.
Unless you’re irrationally afraid of cold showers, The Open House fails to deliver on a premise that can be summed up by no more than two lines of text.
Ruby Blu-ray Review – ’70s Drive-In Psychic Shocker From VCI
Starrign Piper Laurie, Janit Baldwin, Stuart Whitman, Roger Davis
Written by George Edwards and Barry Schneider
Directed by Curtis Harrington
Distributed by VCI Entertainment
Imitation is the sincerest form of flattery, and director Curtis Harrington’s Ruby (1977) is paying it to a few of the ‘70s most notable horror films. Cribbing liberally from such better pictures as The Exorcist (1973) and Carrie (1976), this is a picture that could have worked well despite being a pastiche because it begins with a decent setup and the elements for something interesting are present. Unfortunately, nothing ever gels like it has to and Ruby loses focus early on, dashing from one death scene to the next and allowing for little salient connective tissue to tie it all together. The big mystery presented early on should be easy enough for horror fans to deduce, and the film never brings the scare factor. A few of the deaths are novel in their inventiveness, especially the use of the drive-in theater surroundings, but a couple kills do not a movie make and Ruby spends too much time middling and being weird to be of any note.
Florida, 1935. Low level mobster Nicky Rocco (Sal Vacchio) is gunned down by a lake as his pregnant girlfriend Ruby watches on in horror. Just before dying, Nicky swears vengeance on whoever did this to him. Cut to sixteen years later and Ruby (Piper Laurie) runs a drive-in movie theater and lives in a home nearby with her daughter, Leslie (Janit Baldwin). Ruby is a tough broad, quick-witted and foul-mouthed; able to hold her own with the guys. But those guys are beginning to vanish one by one as the bodies start piling up at the theater. Ruby suspects there’s something off with Leslie, so she brings in her own psychic doctor, Dr. Paul Keller (Roger Davis), to examine her daughter. Leslie, as it turns out, is acting as a conduit for the wayward soul of Nicky, who blames Ruby for his ultimate demise. Possessed and programmed for vengeance, Leslie and Ruby have an all-out battle in a search for the truth.
The second half of this film is where things go right off the rails, with scenes aping The Exorcist so much it feels like a knock-off. This isn’t always such a bad thing because knock-offs of better films can always turn out great (see: most of the post-Gremlins little creature features), but Ruby never makes a clear case for introducing these fantastical elements in the third act. This is a story that could have worked better by exercising restraint, playing closer to something like J.D.’s Revenge (1976), a similar gangster-soul-out-for-justice film, than a wild, possessed ride.
What does work, for me, are the drive-in theater setting (I’m a sucker for movies that also involve the craft of film in some way) and the kills, a few of which make great use of the theatrical setting to deliver fitting fatalities. One employee winds up stuffed into a soda machine, with his blood getting pumped into a dark, syrupy drink and served up to guests. Another meets his end on the screen, impaled by the pole on which car speakers are kept. Harrington does inject this picture with a strong sense of atmosphere, too. The locale is woodsy and feels remote; the countryside is dark and foggy, the perfect setting for something grim to occur. None of these elements are enough to fully save the feature, though they do bring enough production value to ease to burden of a poor script.
Personally, I’m a sucker for almost any horror from bygone eras – especially the ‘70s and ‘80s – so, deficiencies aside, Ruby is still worth a spin if you enjoy reveling in this particular era. This is far from an unheralded gem or little-seen treasure, but it does, at the least, rip-off good pictures in spectacularly bad fashion.
This is a rough film and every bit of work done for the 2K restoration still can’t do much to polish it up any better. First, a note: there is a video drop-out for approximately ten seconds around the 21-minute mark. VCI is offering replacement discs via their Facebook page, so check there for further details. Future copies will be corrected, and those should already be on “shelves” now, so consider this an FYI. The 1.85:1 1080p image is frequently soft and murky, darkly shot and poorly lit. Shadow detail is virtually non-existent. The color temperature looks a bit on the warm side. Film grain is noisy and occasionally problematic.
An English LPCM 2.0 track carries a clean & balanced audio experience. Voices sound a touch muffled at times, though nothing too severe. The murders scenes are accompanied by creepy ambient sounds, adding a slight chill. The film’s closing theme song is awesome cheese that must be heard. Subtitles are available in English SDH.
There are two audio commentary tracks; the first, with David Del Valle and Nathaniel Bell; the second, with Curtis Harrington and Piper Laurie.
The film’s original trailer is included in HD.
Also included are a few interviews with Harrington, conducted by David Del Valle, including “2001 David Del Valle Interview with Curtis Harrington”, and “Sinister Image Episode Vol. 1 & Vol. 2: David Del Valle Archival Interview with Curtis Harrington”.
- NEW 2K RESTORATION from the original camera negative
- Original theatrical trailer
- Audio Commentary with Director Curtis Harrington & Actress Piper Laurie
- New Audio Commentary with David Del Valle and Curtis Harrington historian Nate Bell
- Two Interviews with Curtis Harrington by Film Critic David Del Valle
- Photo Gallery
- Optional English SDH subtitles
A simple plot becomes wildly unfocused but Ruby does have intermittent camp value fans of ’70s horror cinema should dig. VCI’s Blu-ray is no beauty by any means, though it’s likely to be the best this poorly-shot feature will get.
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