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halloween kills



(Clicking the highlighted links brings you to corresponding reviews and articles here at The Movie Madhouse!)

Sequel to Halloween 2018 starts out with a pre-credits flashback to 1978 and after the fiery jack-o-lantern filled credits sequence, picks up were the last flick left off. While the citizens of sleepy Haddonfield have yet to realize who’s back and a wounded Laurie (Jamie Lee Curtis) heads to the hospital with Karen (Judy Greer) and Allyson (Andi Matichak), an ill-fated group of firemen unleash Myers (James Jude Courtney) from his burning prison. Now, as an angry Michael starts carving up the town, locals, including 1978 survivors Tommy Doyle (Anthony Michael Hall) and Lonnie Elam (Robert Longstreet), decide it’s time to hunt him down and put an end to his reign of terror.

Halloween Kills is again directed by David Gordon Green (Pineapple Express) who co-wrote with Danny McBride and Scott Teems. The result is an incredibly polarized mixed bag with some really great scenes and scenes that borderline suck. The good stuff is anything involving Michael. The opening flashback to his capture in 1978 is one of the best Halloween sequences outside of the 1978 original and has a really shocking surprise cameo. The scene of Michael decimating his first responder rescue team is not only already controversial, but quite intense and bloody. The Michael Myers here is angry and his stalk and kill scenes are intense, very graphically violent and sometimes outright scary. They have impact and we see one of the most vicious portrayals of Michael Myers since Rob Zombie’s flicks. Unfortunately, the scenes featuring Tommy Doyle and his mob of frenzied townies at the hospital are downright terrible. The dialogue spoken by Doyle and the hospital security chief, former sheriff Brackett (Charles Cyphers), is awful and hearing an angry mob shouting “Evil dies tonight!” in the hospital lobby is almost laughable, if one wasn’t busy cringing. Add in the silly mob pursuit of another escaped mental patient mistaken for Michael and hilarity not intensity ensues. How could Green nail the scenes with Michael so well and completely bungle everything else? Laurie is sidelined for pretty much the entire movie, with Karen and Allyson taking up the mantle of Myers hunters and their confrontation with him at the old Myers house is thankfully one of the things Green gets right. The gore is plentiful and quite gruesome and the violence is quite brutal, but it’s sadly the stuff that should have given this dramatic weight that fails so badly here. At least Carpenter, his son Cody and Daniel Davies provide a really good score and David Gordon Green still has a good eye for visuals. The film looks great and the score really punches up the kill scenes. Everything else just induces a lot of intense eye rolling and mumblings of “WTF” were they thinking.

The cast are a mixed bag, too. Curtis does the best with what little she has to work with and it’s Greer and Matichak that shine here, as they go on the offensive with mom Laurie in the hospital. Anthony Michael Hall just doesn’t click as Tommy Doyle, who, for some reason, is given the Dr. Loomis role here. It doesn’t work and his Loomis-esque dialogue is terrible. Dylan Arnold is good again as Cameron and Robert Longstreet is fine as his dad Lonnie. Rounding out the original character returns is Kyle Richards returning to her original role as Lindsey, Cyphers as Brackett and Nancy Stephens returning as Nurse Marion. Nice to see these original faces, but they could have been better used. Also returning is Omar J Dorsey as Sheriff Barker and Will Patton as Hawkins. James Jude Courtney is once again imposing as Michael Myers.

What can one say. After a fantastic opening sequence and an intense and brutal escape by Michael Myers, the film turns into a silly pitchfork and torch mob movie—and yes, there is actually a pitchfork at one point—with some scenes that feature awful dialogue and completely misfire, killing any intensity the Myers stalk and kill scenes have. With those at least, the film lives up to it’s promise with David Gordon Green really nailing these scenes and giving us the vicious, brutal and scary Michael Myers that we came to see. We can only hope Halloween Ends is exactly that and this incarnation of  Myers can finally rest in peace.

-MonsterZero NJ

Rated a generous 3 (out of 4) carving knives, because the Michael scenes rocked. Happy Halloween 🎃!

malevolence rating






Kurt Russell as Snake Plissken! One of the greatest and sadly underused movie anti-heroes of all-time!

40 years ago today the film world was introduced to Snake Plissken (Kurt Russell) as John Carpenter’s Escape From New York was released in theaters! A little EFNY anniversary trivia: studio Avco Embassy Pictures wanted Charles Bronson or Tommy Lee Jones for Plissken, but Carpenter held out for Kurt Russell and history was made! HAPPY 40th ANNIVERSARY ESCAPE FROM NEW YORK!





The late, great Oritani Theater in Hackensack, N.J. where I saw Escape From New York opening night! (Photo from the Mitchell Dvoskin collection)

-MonsterZero NJ





MAJOR SPOILER WARNING! In order to properly compare these two films, I have to give DETAILED SPOILERS. If you haven’t seen Halloween II (1981) or Halloween (2018), there are MASSIVE SPOILERS BELOW for each film. You have been warned!


Comparison In Horror is back!…and in this installment the comparison is between the two direct sequels to John Carpenter’s original classic Halloween. In 1981, the success of Halloween led to an inevitable sequel, Halloween II. Recently, for Halloween‘s 40th anniversary, a new film, Halloween (2018), was made that went back to the source and erased all the previous sequels, as a direct continuation of Carpenter’s original story. It’s created a unique situation where one classic film now has two direct sequels…remember, Halloween H2O, acknowledges the story elements of Halloween II, so it is not quite a direct sequel to the 1978 classic. Two direct sequels that take place forty years apart, let’s take a look these two films and compare…

(Click on the highlighted movie titles to go to the full length reviews and on the photos to enlarge them!)



Halloween II takes place on the same night of the original, basically picking up right where the first film leaves off. The flick continues with an injured Laurie Strode (Jaime Lee Curtis) being taken to a hospital in Haddonfield, while Dr. Loomis (Donald Pleasence) and the police scour the neighborhood for the still at large Michael Myers (stuntman Dick Warlock). Unbeknownst to them, Michael has discovered Laurie’s whereabouts and heads to the hospital to find her, leaving a trail of bodies along the way. Once there, he begins to decimate the hospital staff, one by one, in search of his prey. It is in this film that it is revealed that Laurie is actually Michael’s other sister and he has come home to finish the job he started 15 years ago.

Halloween (2018) opens forty years later to find Laurie Strode (Jamie Lee Curtis) living in solitude after some failed marriages and loosing custody of her only daughter Karen (Judy Greer). She’s taught herself to survive and fight and is in a constant state of preparedness for Michael Myers’ (Nick Castle and James Jude Courtney) possible return. As for Michael, he was recaptured after that fateful night and has been re-incarcerated in the Smith’s Grove Asylum ever since. A pair of British journalists (Rhian Rees and Jefferson Hall) visit Michael, on the eve of his transfer to an even more secure institution, and try to evoke a response by presenting him with his old mask. Of course, that night, the transfer bus suffers an accident and Michael escapes, reclaims his mask and heads off to Haddonfield in time for Halloween. Hearing of his escape, Laurie intends to protect her daughter and granddaughter (Andi Matichak) and goes on the hunt to confront Michael once and for all. By ignoring all the sequels, this film eliminates the subplot that Laurie is Michael’s sister and returns her to a random victim.

Except for both films being direct sequels to John Carpenter’s Halloween, the stories are vastly different.




Obviously the Michael Myers in 1981’s Halloween II is the same as in John Carpenter’s Halloweenas the film picks up minutes after the first movie. He’s about twenty-one years-old and is a brutal killer, murdering anyone he encounters during his pursuit of Laurie. It starts out as random neighbors, as he flees from the police and Loomis, to various hospital staff once he finds Laurie at Haddonfield Hospital. He uses a variety of weapons or his hands to brutally dispatch his victims. His mask is still new, stolen earlier that day from a general store. There are hints that there is something supernatural about him, a pure evil more than human.

Halloween (2018)‘s Michael is a Michael forty years older than when we…or Laurie…last saw him. He’s got grey hair, is balding and covered in scars from his first encounter with Laurie. Once reunited with his mask, it too is showing wear and tear, with cracks and thinning hair much like it’s wearer. Despite being 61 years-old, he is still a strong, brutal and efficient killer murdering any innocents he encounters on his way back to Haddenfield and Laurie. In comparison, he seems a bit more vicious here, using his bare hands more often and otherwise mostly sticking with a simple kitchen knife, ironically obtained in a nice homage to Halloween II. He still prefers gas station coveralls and stalking women home alone or babysitting. The supernatural hints are downplayed here, save for a few lines in a nice homage/vocal cameo by Dr. Loomis.

In neither film does he ever speak and any emotions are marked by a shifting of his head or an intensifying in his movements. While he seems more interested in babysitters than their charges in the 1978 and 1981 films, 2018’s Michael has no qualms killing a young boy with a gun…but will still spare a baby. In the 1981 sequel, he started to appear more invincible and unkillable like his cinematic rival Jason Voorhees. In the 2018 sequel, he is back to being more human and can be hurt or injured.




The Laurie Strodes portrayed in both films are a vast contrast due to the proximity and/or passage of time to the original film’s events.

In Halloween II Laurie is a terrified high school girl who is still traumatized from her encounter with Michael that night. She is basically a damsel in distress, continually on the run from Myers once he reacquires her. She actually seems to have a little less fight in her than she did in her earlier battle with the masked killer, though understandable being wounded and sedated by the hospital staff. Loomis once again comes to her rescue.

In Halloween (2018) we find a Laurie Strode who has been haunted for forty years as a result of the attack by Michael Myers and the murder of her friends. Aside from a few failed marriages and having a daughter from one, Laurie has lived a solitary life where she constantly prepares for Michael’s return…in fact she actually prays for it. The only way Laurie can purge the events of that Halloween night in 1978 from her mind is to kill the man who traumatized her and turned her into the paranoid recluse she now is. When she hears of Michael’s second escape, instead of hiding, Laurie arms herself and the hunter becomes the hunted. Laurie is more Sarah Conner than damsel in David Gordon Green’s film and Jamie Lee Curtis gives one of the best performances of her career.




The settings for both of these films is Haddonfield, Illinois and despite taking place forty years apart, not much has changed. In both films Haddonfield is a small suburban midwestern town that seems to celebrate Halloween enthusiastically. Halloween II ‘s town is still mostly unaware there is a killer in their midst and are only starting to hear the news that there has been an escape at Smith’s Grove and murders committed locally. The original Myers murder of his sister Judith, fifteen years earlier, is almost an urban legend at this point, especially to the town’s younger generations. A lot of the action takes place in the local hospital where Laurie has been admitted.

Same goes for Halloween (2018)‘s Haddonfield which has almost forgotten about the murders of forty years ago, save for the reminder of the eccentric woman who lives secluded in the woods. The new generation of teens know very little about Myers and that night and are too busy partying and trick or treating to realize a killer is on his way home again. Much like Halloween II, the Myers story is treated as an urban legend by everyone but for Laurie and a save few, including her daughter and granddaughter. The action takes place first at Smith’s Grove and then moves to Haddonfield with a last act at Laurie’s fortress home.




Rick Rosenthal’s 1981 sequel opens at Halloween‘s climax with Michael vanished and Loomis pursuing him into the street, much to the chagrin of a next-door neighbor. The opening sets the tone of the movie by quickly recounting the closing moments of the first film and then establishing that the danger is still out there. After a very effective opening credits scene where a pumpkin splits open to reveal a skull, we get Michael’s theft of a knife and first kill to make sure the dread is re-established.

Halloween (2018)  Opens with a pair of British podcasters visiting Michael at the Smith Grove Asylum. Journalist Aaron Korey (Jefferson Hall) uses some connections to borrow Michael’s mask and brazenly shows it to him to no effect. The other inmates react and it is their reaction that gives the opening an unsettling creepiness. After a very effective title sequence with a rotten pumpkin slowly reforming, we then follow Korey and his partner Dana (Rhian Rees) as they visit the reclusive Laurie, thus re-introducing us to her after all these years.

Both openings serve their respective stories well. Though in terms of sheer effectiveness, Halloween II is definitely the more potent opening, when going from Loomis’ classic “You don’t know what death is!” line to the pumpkin/skull credits, in getting us in the mood to be scared. Halloween (2018) only really gets going at a gas station scene which amusingly homages Halloween 4.




Both films end in fiery conflagrations with Michael at the receiving end.

In Halloween II, Michael bursts in as Loomis and Laurie are hiding in an operating room. Blinded by some well placed gunshots, Michael is lured into the center of the room as Laurie escapes. A wounded Loomis ignites the oxygen tanks causing a massive explosion. Myers walks out of the fire engulfed in flames before collapsing. Carpenter intended this to be the end of Michael Myers, though he would return for five more sequels before being “re-imagined” by Rob Zombie.

Halloween (2018) has Michael and Laurie engaged in a final(?) showdown at Laurie’s remote fortress house in the woods. She traps Michael in the cellar and then ignites the house which was always fitted to be a trap for the serial killer. Michael stares up at her as the room becomes engulfed in flames around him. Next we see the room, it is completely in flames, yet we see no sign of Michael. As we do hear his trademarked heavy breathing during the end credits, we are led to believe David Gordon Green is not done with the saga of Michael and Laurie quite yet.





Halloween II is directed by Rick Rosenthal from a script by John Carpenter and Debra Hill, while Halloween (2018) is directed by David Gordon Green from a script by he, Danny McBride and Jeff Fradley. Both films are scored by Carpenter himself, with collaborations from Alan Howarth on the 1981 film and son Cody and Daniel Davies on the 2018 film. Both films look great with Dean Cundey doing the cinematography on Halloween II and Michael Simmonds on Halloween (2018). Both films feature graphic violence which is well represented by their respective make-up effects departments. As the recipient of such, both flicks have characters that are obviously there just to be Michael fodder. Each film does make good use of spooky Halloween imagery and were both box office hits with Halloween (2018) coming in just under the original film when tickets are adjusted for inflation.*

*as per Box Office Mojo




Both films have their flaws and both have their merits. Both films effectively continue the story, but from completely different points in the timeline. One movie beginning where the first left off and the other continuing the story four decades later. As in all cases such as this, it’s up to the individual to choose a favorite. On a personal level, I’ll go with Halloween II as it’s an 80s slasher after all…my favorite kind…and flaws aside, it’s still the last Michael Myers film to really feel like a Halloween movie with Carpenter scoring and Dean Cundey doing cinematography…and let’s not forget the sadly missed presence of Donald Pleasence as Loomis. Halloween (2018), certainly got a number of things right, and does include a great performance from the queen herself. It also stumbled too, especially with it’s Loomis wannabe Dr. Sartain (Haluk Bilginer) and a failed subplot involving him. The 2018 film does have a strong police presence in Will Patton’s Deputy Hawkins who makes a nice replacement for the original part I and II’s Sheriff Brackett (Charles Cyphers) and Deputy Gary Hunt (Hunter von Leer). Addressing issues such as the long term effects on an attack victim, Green’s film has more substance, though Rosenthal’s sequel is simply more fun. Either way, Michael Myers fans win, as we probably haven’t seen the last of him. 🎃

-MonsterZero NJ

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(Clicking the highlighted links brings you to corresponding reviews and articles here at The Movie Madhouse!)

It’s the 40th anniversary of John Carpenter’s Halloween and so there is no surprise that there is a new Michael Myers film this year. This film hits the reset button and rejects all the other sequels and remakes and is a direct continuation of the first film, picking up the story 40 years later…

Halloween 2018 opens to find Laurie Strode (Jamie Lee Curtis) living in solitude after some failed marriages and loosing custody of her only daughter Karen (Judy Greer). She’s taught herself to survive and fight and is in a constant state of preparedness for Michael Myers’ (Nick Castle and James Jude Courtney) possible return. As for Michael, he was recaptured after that fateful night and has been incarcerated in the Smith’s Grove Asylum ever since. A pair of British journalists (Rhian Rees and Jefferson Hall) visit Michael, on the eve of his transfer to an even more secure institution, and try to evoke a response by presenting him with his old mask. Of course, that night, the transfer bus suffers an accident and Michael escapes, reclaims his mask and heads off to Haddonfield in time for Halloween. But Laurie intends to protect her daughter and granddaughter (Andi Matichak) and goes on the hunt to confront Michael once and for all.

John Carpenter returns to the series to executive produce, along with Jamie Lee Curtis. He also co-wrote the score with son Cody Carpenter and Daniel Davies. The film itself is directed by David Gordon Green (Pineapple Express) who co-wrote with Danny McBride and Jeff Fradley for Blumhouse and Miramax. Background in comedy aside, Green delivers what is probably the best of the post Halloween III sequels, though technically that is not saying much. It also feels much more like a Halloween film than Rob Zombie’s efforts, but those are their own thing and exist in their own universe. It’s not perfect and still can’t come close to the original, but it does provide some intense scenes, especially in the last act confrontation. There is some brutal violence and Myers hasn’t mellowed in his old age (he’s about 61 here) as he still has a fondness for babysitters, anyone home alone…and or course, the Strode women. The film’s drawbacks are mostly script problems. The character of Loomis protégée, Dr. Sartain (Haluk Bilginer) seems shoehorned into the story, just so it has another Loomis. He doesn’t provide any useful exposition and as Michael hasn’t spoken in 40 years, he can’t know anything much more about him than Loomis did. There is also a last act plot twist involving him which simply doesn’t work and serves only to set up one of the film’s many conveniences. The flick also never maintains a constant feeling of dread as did the original. It’s never really scary, though it does get intense and there are some suspenseful moments. Michael’s killings in Haddonfield seem far more random than before. In the original he stalked Laurie’s friends, here it’s just randomly picked people to add body count before the last reel showdown. It works, but still seems like filler. When that showdown comes, it is intense and delivers what we came for and Green does pay nice homage to the original and some of the sequels it chooses to ignore. It also looks great, Green has a good visual eye and Haddonfield looks the most like Haddonfield since it did in 1981’s Halloween II.

Green also gets good work out of most of his cast. Jamie Lee Curtis is great as the emotionally troubled survivalist that Laurie Strode has become. If her character evokes the transformation of Sarah Conner from The Terminator to it’s sequel, T2: Judgement Day, it’s probably intentional…and it works. She’s still the queen of final girls. Greer is very good as her somewhat estranged daughter and it’s a shame this talented actress constantly gets these second banana supporting roles. Andi Matichak was solid as Strode’s granddaughter Ally. She seems to take more after her grandmother than her mother, though due to the story trajectory, she takes a backseat to Curtis in terms of final girl duty. Will Patton was solid as the local sheriff, Haluk Bilginer is no Donald Pleasence as Sartain, and Rees and Hall were suitable in their brief roles as the British journalists who rattle the wrong cage. Last, but certainly not least, Nick Castle and James Jude Courtney combine to make an imposing Myers, who is more threatening than he was in any of the post Halloween III, pre-Zombie sequels.

Overall, Halloween 2018 was a suitable enough sequel, though not without it’s flaws and it’s no classic. Director Green gave us some intense scenes and some brutally violent moments, as well as, a strong last act confrontation. His script let’s us down a bit, with some really contrived conveniences and a Loomis replacement that wasn’t necessary and who suffered one of the worst plot twists of the film. The continual sense of dread Carpenter established was missing and Michael’s kills seemed especially random and there to “kill” time as we awaited his reunion with Laurie. Curtis is still queen of the final girls forty years later and Dr. Sartain aside, most of the cast and characters worked, even if some were obvious Michael fodder.

Halloween 1978 is a masterpiece and a horror classic, so one can’t expect the same from any of the sequels. Most of them sucked, anyway, making it easy for this film to be able to at least hold it’s ground against the original three…and flaws aside, it does. Stay through the credits.

-MonsterZero NJ

Rated 3 (out of 4) carving knives. Happy Halloween 🎃!












This is one book review, I definitely need no excuse to post. Not only is it a great chronicle of the making of some of the early classics of the legendary John Carpenter but, an amazing album of behind the scenes shots from some of my favorite films from my favorite filmmaker…


John Carpenter is perhaps my all time favorite filmmaker and, as my favorite of his works are those from the 70s and 80s, this book was an amazing trip down memory lane and an incredible glimpse behind the scenes at some of Carpenter’s early classics as told through the talented camera lens of Kim Gottlieb-Walker with some comments and anecdotes from Kim, John Carpenter and some of those involved. The photography is not only breathtaking but, captures a side of the productions of Halloween, The Fog, Escape From New York, the Carpenter produced Halloween II and Christine that we’ve never seen before. Gottlieb-Walker was hired by Carpenter and Debra Hill as his unit photographer and as such, she captured some wonderful behind the scenes shots of cast and crew from these classic films. Add the commentary and some delightful stories from the photographer, Carpenter himself and others such as Adrienne Barbeau, DOP Dean Cundey and many, many more, and this book becomes a trip back in time to a long-gone era and a side of these productions that we have only barely glimpsed previously. It chronicles the rise of a legendary director and some other now very established filmmakers, as well as, shares tales of some sadly gone talents such as Lee Van Cleef, Issac Hayes, Donald Pleasence and pioneer producer Debra Hill. As a Carpenter fan, or simply a fan of filmmaking, this is a must-have book with some simply amazing photos that will take us back to the days when a group of young filmmakers and actors were making their dreams… and some of our favorite films… a reality. A simply beautiful book and instantly one of the most cherished in my collection… and it doesn’t hurt either that the largest section of the book is dedicated to Escape From New York, my favorite Carpenter flick and one of my all-time favorite films. I. Love. This. Book!

4 stars!

four stars rating




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double feature_EFNY_SHAKE


This week’s double feature combines two movies I’ve covered before but, since NYC was on a lot of people’s minds this past week and the World Trade Centers figure prominently in both features, I decided to pair up two of my favorite 80s action guilty pleasures! Enjoy!



Escape From New York is one of my all time favorite B movies and a bonafide film classic. I instantly fell in love with this film upon seeing it opening night at the legendary Oritani Theater in Hackensack, N.J. and John Carpenter solidified himself as one of my favorite directors.

An outrageously original idea has New York City in a war torn, crime filled, future turned into a maximum security prison, and legendary director Carpenter makes it work by taking his subject matter just seriously enough to make the audience buy it. Add to that a colorful cast of characters, including one of the greatest, and sadly underused, film anti-heros of all time, Snake Plissken (Kurt Russell) and you have the recipe for a B movie classic. The story is simple, war hero turned outlaw, Snake Plissken has been captured and is about to be sentenced to life imprisonment in New York City Penitentiary. But, fate intervenes and the President’s (Donald Pleasence) plane is hijacked on the way to a crucial peace summit and crashed inside the city. Former special forces soldier Plissken is the only man skilled enough to sneak in quietly and get him out alive and Snake now has a chance at a full pardon for all his crimes if he takes the job. But, a vicious gang leader called The Duke Of New York (Isaac Hayes) has other ideas for both The President and Snake, who has less then 24 hours to complete his mission or the world goes back to war.

Director and co-writer (with Nick Castle) Carpenter creates some nice tension and suspense and his visual eye is great at creating a gloomy hellhole out of the world’s greatest city. And Dean Cundey’s cinematography is absolutely beautiful as it captures the world inside New York, which is very effectively portrayed on a small budget. Carpenter moves the film along well, although not as fast paced as today’s audience are used to, and there is plenty of action and chases to keep one entertained. And despite being released in 1981, this film may be the last film to have a real 70s feel to it before the Lethal Weapons and Die Hards changed action films forever. Another film that inspired many and was imitated many times and another great Carpenter film score to add to the atmosphere.

As for the cast… Kurt Russell does his best Clint Eastwood as Snake and it’s only natural then to pair him up with Eastwood co-star Lee Van Cleef as Police Commissioner, Bob Hauk. Rounding out the cast is Halloween vet Donald Pleasence as the President, Harry Dean Stanton as Brain, Carpenter’s then wife, Adrienne Barbeau as Maggie, Ernest Borgnine as Cabbie and legendary soul man Isaac Hayes as The Duke of New York. And not to forget, there is also genre favorite Tom Atkins as Hauk’s right hand man, Rehme and frequent Carpenter collaborator Charles Cyphers as the Secretary Of State. A simply classic B-movie sci-fi/action flick and one of my all time favorites! MONSTERZERO NJ EXTRA TRIVIA:  The studio wanted Charles Bronson as Snake, but, Carpenter fought for his choice of former Disney child actor, Russell and the rest is history. Also, the SPFX were done in part by a then unknown James Cameron, who went on to direct Terminator and Titanic. And despite it’s setting, most of the film was lensed in St. Louis and L.A. with only one night actual shooting in NYC at the Statue of Liberty.

One of the greatest B-movies of all time!

A classic 4 Snakes

escape rating




Shakedown is an 80s action guilty pleasure from Exterminator director James Glickenhaus that is not only his best film but, a darn entertaining cop thriller that is one of the last to take place in NYC before the 42nd street clean up and thus presents New York in all it’s sleazy pre-90s glory.

Shakedown is the story of public defender Roland Dalton (Peter Weller) who is moving on to a Wall Street law firm, run by his future father in-law, and as his last case, defends a drug dealer (Richard Brooks) accused of killing a cop. But, the dealer says it was self defense, he was defending himself in a robbery and the officer never identified himself. Dalton investigates along with lone wolf cop Richie Marks (Sam Elliott) and they discover a conspiracy of criminals and dirty cops who now want them both dead.

Sure some of the action is a bit overblown and the FX in the final showdown very cheesy but, Shakedown, as written and directed by Glickenhaus, is a down and dirty good time with a New York City bathed in neon lights, covered with empty crack vials and where sex, drugs and murder are a common occurrence. Add some 80s nostalgia to the mix and you have a whole six pack worth of Saturday night entertainment that is both grind-house action flick and slick crime thriller. But, aside from it’s dirty, backstreet depiction of New York and some over the top action scenes, what really makes Shakedown work is that Elliott and Weller makes such a great team. They work very well together and it’s a shame the film never caught on enough to further the adventures of Marks and Dalton. The characters and the actor who portray them, really click and begged for a series. Supporting cast all perform well too, including Antonio “Huggy Bear” Fargas as drug lord Nicky Carr, Blanche (Sixteen Candles) Baker as Dalton’s fiancé and hot Patricia Charbonneau as the assistant D.A. and Dalton’s former flame.One of my favorite 80s guilty pleasure action flicks. A fun movie.

MONSTERZERO NJ EXTRA TRIVIA: The original title for the film and it’s title in other parts of the world was Blue Jean Cop which is a term used in the film for a cop on the take (dirty cops can afford designer jeans as opposed to Wranglers or Levis). Also, Director Glickenhaus made a few more flicks, including the campy Gary Busey action vehicle Bulletproof, before leaving show business to work at his father’s investment firm and became a successful investment professional and car collector.

3 and 1/2 bullets!

raid rating




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The Last Starfighter  is a fun 1984 Sci-Fi adventure that is now both very dated and yet charmingly nostalgic at the same time. Teen Alex Rogan (Lance Guest) lives with his mom (Barbara Bosson) and brother Louis (Chris Herbert) in a trailer park where he serves as the local repairman. Alex constantly dreams of a better life for he and his girlfriend Maggie (Catherine Mary Stewart) and while it seems like he’s going nowhere, he finds solace in playing The Last Starfighter video game at the local store. Alex soon finds out that this is no mere game, when it’s creator, an alien named Centauri (Robert Preston in his last film), comes to tell him that it is actually a test and his high score has qualified him to join the Star League from the game and become a Starfighter. Their mission, to defend against the game’s villains Xur (Norman Snow) and the Ko-Dan Armada, who are quite real. Taken to their headquarters in space, wide-eyed Alex is introduced to his lizard faced navigator Grig (Dan O’Herlihy), but is overwhelmed and asks to be returned home. Soon after Alex leaves, Xur attacks and the Star League is destroyed save for Grig and a lone prototype gun-star battleship. Back on Earth, Xur’s assassins come looking for Alex and he soon changes his mind to protect his loved ones and the Earth. With a lookalike drone left to act as him in his place, Alex returns to Rylos to somehow try to defeat the massive invading fleet with only he, Grig and their lone warship to defend the galaxy.

In it’s time, Starfighter was groundbreaking for being one of the first films to use completely CGI effects for it’s space and battle scenes. By today’s standards these FX are quite antiquated and cheesy, but, at the time, they were very impressive to those of us who were still used to the simple graphics of games like Asteroids and Pac-man. The sets and costumes also resembled those from a sci-fi TV show from that era, but when it comes down to it, it’s the film’s charm that makes it still fun to watch. As directed by John Carpenter alumni Nick Castle (who played The Shape in the original Halloween) the film is loaded with charm and given a real sense of fun. The space battles are short and not all that exciting, but it is the almost fairy tale like atmosphere and wonderful cast that really makes this movie the charmer it is.

Lance Guest makes a very likable, reluctant hero and Catherine Mary Stewart is perfect as the pretty girl next door which is something she was great at and made her a favorite of many an 80s movie fan. Veterans Robert Preston and Dan O’Herlihy really deliver fun performances and make there respective characters quite endearing and they both have a great camaraderie with Guest, which goes a long way to making what could have been a routine flick, a little special. Add to that a delightfully over the top performance by Norman Show as the slimy villain Xur and you get a movie that despite being sold on it’s, at the time, revolutionary FX, is really a very character driven story. Director Nick Castle has kept this film memorable because, he focused on the wonderfully endearing cast of characters and they still hold up despite the fact that the FX and sets and costumes are borderline silly three decades later. The 80s nostalgia the film now carries also helps a lot, but when it comes down to it, Nick Castle did a nice job of taking Jonathan R. Betuel’s script and bringing the characters to such vibrant life along with the talented actors cast in the roles.

Overall, while I was re-watching this and I was wincing at the now cheesy CGI and plastic sets, with their random blinking lights, I still couldn’t help, but get a warm feeling inside and a smile on my face whenever the characters interacted together onscreen. And the longevity of this Sci-Fi flick is not based on ships and space battles, but on a fairy tale-like story about some very real and endearing characters, both human and alien alike, who get together and do the impossible. Something I think we all dream of doing now and then. A fun flick whose character charm far exceeds it’s dated FX work. Considered a classic by many and rightfully so. There is talk of some sort of sequel or follow-up being in the works and only time will tell if it happens.

-MonsterZero NJ

Rated 3 (out of 4) gun stars.

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What better way to wrap up our month long look at some of my Halloween Favorites then by taking a look back at one of the all time great horror flicks and a bonafide classic that is appropriately named after my favorite holiday. John Carpenter’s Halloween is recognized as a masterpiece of suspense and terror and while it wasn’t the first film that fits the definition of slasher, it did start a horror trend that gave birth to quite a few other classics during the following decade and beyond. It’s also simply one of the quintessential horror flicks to watch on All Hallows Eve!

The story starts out in sleepy Haddonfield, Illinois where 6 year old Michael Myers (Will Sandin), for no apparent reason, takes a butcher knife to his teenage sister Judith (Sandy Johnson) and brutally slaughters her. Fifteen years later on the eve of Halloween, Michael (Nick Castle in costume, Tony Moran when briefly unmasked), who has been incarcerated in the Smith’s Grove Sanitarium, awakens from his trance-like state and escapes the facility with his psychiatrist Dr. Samuel Loomis (the great Donald Pleasence) in pursuit. While no one believes him, Loomis is certain he knows where the escaped Myers is going…home. And Haddonfield is exactly where the soulless killer is heading and soon teen babysitter Laurie Strode (Jaime Lee Curtis) and her friends are going to be trick or treated to the most horrifying night of their lives as evil returns to their little town and leaves a trail of bodies in his wake. Despite Loomis’ warnings, can Myers be stopped on the night HE came home?

John Carpenter takes this simple concept…from a script he co-wrote with Debra Hill based on a story idea presented by producers Irwin Yablans and Moustapha Akkad…of a killer stalking a small town and turns it into a masterpiece of suspense and terror as he establishes not only that our killer has, overtime, become a soulless vessel of evil, but gives him a likable batch of typical teens such as Laurie and her friends Annie (Nancy Kyes) and Lynda (P.J. Soles) for us to fear and cheer for, as this fiend targets them for the slaughter. He then uses his camera lens and the cinematography of Dean Cundey to create tension setting shots of Laurie and her friends innocently going about their lives while Michael, or the car he stole, lurks in the background letting us know evil has found them while they remain blissfully oblivious. When Myers begins his carnage that night, we get shots that are filled with shadows from within which evil may lurk and more shots of Michael and his haunting white mask peering in windows or from behind trees watching his unaware prey. And once the audience is drawn in, we get to watch Michael start to eliminate this likable cast in brutal fashion leading to an intense last act that is literally one long stalking chase as Laurie tries to fight back and escape the mysterious killer who has targeted her as his next victim. The legendary director cranks up the pace after a deliberately slow burn and really gets our hearts pumping as the film heads toward it’s haunting conclusion. Carpenter stages all these scenes perfectly and we are with Laurie through one close call after another as the seemingly unstoppable boogeyman is relentless in his pursuit of the babysitter and her young charges (Brian Andrews and Kyle Richards). If his keen direction isn’t enough, Carpenter himself wrote and performed the haunting and now legendary score which really intensifies the atmosphere and accents every scare.

The cast are all good. Pleasence creates an iconic character as the frustrated and desperate Dr. Loomis, In her first film role, Jamie Lee Curtis gives us simply one of the greatest horror movie heroines of all time as Laurie. Nancy Kyes and cult favorite P.J. Soles are endearing as Laurie’s horny gal pals and Charles Cyphers is convincing as a small town sheriff who is more doubtful then concerned…until it’s too late. There is actually little gore in the film, but what bloodshed we do get is well executed, though it is sound FX that really make these kills effective as Michael’s knife makes impact with his unsuspecting victims. The sound is chilling as is his victim’s struggles when the killer simply uses his bare hands to finish them off. Which in my opinion is even more horrifying. Whatever flaws this film has, they are minor and it is a text book example of how to make a low budget horror, achieving a lot with very little.

Whether the film is an allegory on the dangers of teen promiscuity or simply a damn good horror flick, it all comes down to Carpenter’s camera and how he uses it that creates a lot of the tension and suspense. While today’s generation brought up on more blunt and visceral horror may find this too tame, I think it is truly the masterpiece of horror that it’s reputation suggests and quite possible changed horror films forever. A classic and one of the greatest Halloween season flicks of all time.

“Was it the Boogeyman?… As a matter of fact it was…”

A classic 4 carved pumpkins!

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