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80s Crime thriller finds social outcasts Bo (Charlie Sheen) and Roy (Maxwell Caulfield) facing high school graduation and the start of dead end factory jobs the following Monday. They decide to hit L.A. for a last weekend of cutting loose, but as dark emotions and deep frustrations bubble to the surface, the party weekend quickly degenerates into a spree of violence, mayhem and murder.

Effective and disturbing little flick is directed by Penelope Spheeris (Suburbia, Wayne’s World) from a script from future X-Files writers/producers Glen Morgan and James Wong. It takes a dark look at that moment between high school and moving forward to your future, with the portrayal of two youths who don’t feel they have one. Obviously, from the film’s opening credits serial killer montage, we know this is not going to end well and it doesn’t, as a weekend of cutting loose becomes a vicious murder spree. It’s the brooding Roy who has the darkest emotions here as he does most of the killing, with the more simpleminded Bo along for the ride and assisting in some of the violence. Morgan and Wong’s script has implications Roy is also struggling with his sexuality and/or repressing homosexuality as he, at one moment, dupes a gay man (Paul C. Dancer) into taking them back to his apartment and then brutalizes and murders him. Roy also becomes apparently jealous when Bo gets laid with the lonely and pretty Angie (Patti D’Arbanville) and viciously murders the older woman, who is just looking for some company. These moments are violent and very effective as we watch two men venting their frustrations, and in Roy’s case, some dark harbored emotions, on innocent people. The police are slowly closing in on the duo, but even Detective Woods (Christopher McDonald) laments that it will take more heinous activity to get the clues they need to catch them. It also takes quite a few bodies for Bo to come around, want to walk away and go home, but Roy is out of control and we know it is only a matter of time before small town thrill-killers collide with big city police…and Spheeris makes it an intense and unsettling ride. There is some clunky dialog here and there, mostly between the police characters, but otherwise this is an underrated tale of two young men giving in to their darker impulses and taking their frustrations out on unsuspecting and undeserving people. Despite being thirty years old these themes resonate today more than ever, with the horrible reality of school shootings and teen killers.

Sheen and Caulfield are excellent in their parts. Long before he became ‘troubled’ Sheen plays a simple young man who seems to be happy to just go with the flow and in this case, go along with the more dominant and troubled Roy. Bo engages in the violence, but seems to be just following Roy’s lead as he lacks the inner rage and turmoil of his best friend. He’s sadly a follower and just as he is willing to walk into that factory on Monday morning, he is willing to follow the increasingly volatile Roy on his spree of violence. Bo does join in on some of the brutality, but it is Roy who initiates it and delivers the fatal blow in each case. It takes until the brutal murder of the sweet Angie for Bo to realize he’s had enough, but it’s too little and too late. Caulfield gives a very strong performance as the more dominant and deeply troubled Roy. Roy seems to have numerous frustrations bubbling within, as he is not only unhappy with his working class, trailer park life with his drunk and burnt-out father, but Morgan and Wong’s script seem to implicate he is also possibly suppressing homosexuality, as he targets the gay Chris for murder, kills the male of a couple with the woman being almost an afterthought and appears to be quite jealous when Bo is getting Angie’s amorous attention. It’s never discussed openly, but there are enough clues to suggest working class Roy is suppressing homosexual tendencies and this suppression is turning into rage. Rage is what fuels Roy, whereas Bo is just along for the ride and for the thrill of their criminal exploits. Roy is out for revenge against a world he possibly feels has mistreated him or dealt him a bad hand. Caulfield does a great job conveying these frustrations and Roy’s inner rage. Other major cast members are Patti D’Arbanville, as the ill-fated Angie, who seems like a sweet-natured and lonely women just looking for some company and the actress earns our empathy with limited screen time and Christopher McDonald as young detective Woods, who, unfortunately, has one of the weaker written parts and some of the more stilted dialogue. He is likable, but is a victim of some of the script’s flaws.

Revisiting this ‘lost’ flick after more than two decades, only makes it more disappointing that the film was never really recognized for the effective and unsettling crime thriller it is. It presents a simple, and all too real, story of two small town youths who let their darker emotions, frustrations and urges turn them down a violent path with only one end. The two lead actors are very good in their roles with conveying, especially in Caulfield’s Roy, emotions and inner turmoil they are not equipped to deal with…so they take it out on others. It’s shocking, brutal and even over thirty years later, very effective and relevant. Highly recommended.

-MonsterZero NJ

Rated 3 and 1/2 (out of 4) bullets.

late phases rating





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Pretty much the best documentary ever on the 80s heavy metal scene that centered in L.A. and ran roughshod for over a decade till Grunge took over in the early 90s. Penelope Spheeris (Suburbia, Wayne’s World) tells the story using the voices and music of not only some of the top bands like Poison, Ozzy Osbourne, Aerosmith, Motörhead and one of the godfather’s of heavy metal, Alice Cooper. We also get interviews with fans and wannabe stars like members of Odin, who never got signed, members of Vixen, whose star shown briefly and members of London, who had bandmates that went on to join some of the most famous bands of the era, but never found fame themselves. As nostalgia, it gives one a perfect feel for the music, outrageous fashions and the decadent lifestyles that came with it. It’s all the hair spray, mascara and glitter you could want with some refreshingly honest feedback from the people whose music created the scene and those who lived as part of it. We get some outrageous interviews such as KISS’ Paul Stanley, who delivers his words of wisdom from a bed filled with gorgeous women, Ozzy Osbourne, as he makes his breakfast of bacon and eggs and the most notorious segment with W.A.S.P.’s Chris Holmes, giving his interview piss drunk while fully clothed in a pool and with his poor mom sitting in a chair right there the whole time. It’s a lot of fun and in Holmes’ case, makes you cringe a few times. We also get the opposing viewpoint of this whole scene from some hilarious interview segments with a parole office who talks about “de-metaling” the kids under their charge and the demonic influence of the music and it’s makers. Spheeris basically let’s it all speak for itself and we are all along for the wild ride.

As a metal head myself, who was in clubs here in New Jersey and NYC almost every night during the 80s, seeing bands like the ones here, this documentary is a wonderful and nostalgic look at a time sadly gone forever. Even if some of the interviewees induce giggles today, at the time, they were people who were simply passionate about the music and life that went with it and this documentary captures it all at the time it was taking place…though sadly right before it’s fall. If you were a part of that scene, as I was, this is a wonderfully nostalgic look back at a one of a kind decade in music. If you are someone interested in what it was like back then, this is a fun and sometimes rib-tickling look at the lunacy and decadence that swept the music industry during this incredible period in music history.

-MonsterZero NJ

3 and 1/2 guitars

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Track Listing from the Soundtrack CD

1. “Under My Wheels”- Alice Cooper  3:22

2. “The Bathroom Wall”- Faster Pussycat  3:54

3. “Cradle To The Grave”- Motôrhead  4:12

4. “You Can Run But You Can’t Hide”- Armored Saint  3:03

5. “Born To Be Wild”- Lizzy Borden  4:52

6.”In My Darkest Hour”- Megadeth  6:27

7.”Prophecy”- Queensryche  4:02

8.”The Brave”- Metal Church  4:28

9.”Foaming At The Mouth”- Rigor Mortis  3:48

10.”Colleen”- Seduce  3:24







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Catching up with some Corman produced 80s horror, I came to realize just how ahead of his time legendary producer Roger Corman was in giving women a voice in horror as filmmakers and not just final girls!…

Roger Corman is legendary for his exploitation flicks and while some may debate the involvement of women in those films as objects of T&A elements and/or final girls in his horror flicks, they may not be aware that Corman was also boundary breaking in giving women opportunities as filmmakers behind the camera, which, especially in the horror genre and at the time…the 80s…was practically unheard of.

Today women have been showing their voice in the horror genre behind the cameras more than ever. With the starkly original works of the Soska Sisters and their American Mary or See No Evil 2, taking the horror world by storm…along with filmmakers like Jennifer (The Babadook) Kent and Leigh (Honeymoon) Janiak…that voice is louder than ever. The boundaries are starting to come down finally in a very male dominated genre and it’s a blessing to horror movie fans to be getting the works and perspectives of a whole new generation of female filmmakers, previously unheard from…but as these talents tear down the walls, is it possible there were already cracks there from an earlier time?

Three decades before this refreshing opening of doors, those doors were unlocked partially by a man that some may unfairly claim made his money exploiting women in movies, Roger Corman. During the 80s, women were just starting to make waves as filmmakers, let alone in the horror genre and Roger Corman not only produced numerous horror flicks with women writing and/or directing, but gave start to the careers of some renown producers too, like Gale Anne Hurd and his own wife, Julie Corman as well!

Corman, under his New World Pictures banner, produced Humanoids From The Deep with Barabara Peeters at the helm in 1981 and a year later gave the directing reigns to Amy Holden Jones on the slasher Slumber Party Massacre, which was also written by Rita Mae Brown. While the 1983 Suburbia, was not a horror flick, Corman gave new filmmaker Penelope (Wayne’s World) Spheeris a chance, producing her unflinching vision of a group of outcast punk rockers. It is now considered a cult classic and she a very successful filmmaker. After selling New World and starting Concorde Pictures, this trend continued. Sorority House Massacre was written and directed by Carol Frank and between 1987 and 1990 there were second and third installments of the Slumber Party Massacre series, helmed by Deborah Brock and Sally Mattison respectively. Corman even gave one of his regular actresses a chance behind the camera. Kat Shea (Barbarian Queen) co-wrote and directed Stripped To Kill for Corman in 1987 after starring in a few of his productions and doing some second unit work and writing for the legendary producer. She made a few more films for Concorde and Corman afterwards, including the immensely underrated vampire romance Dance Of The Damned in 1987. Shea…then Shea-Rubin…went on to a prolific career as a writer/director after striking out on her own. I personally find her to be a highly underrated filmmaker, whose most well-know film is probably the sexy thriller Poison Ivy with Drew Barrymore.

Corman was not the only one shaking the boundaries that are now finally coming down. John Carpenter stood by the late Debra Hill as his producer and she produced a number of his most classic films with him, including the horror masterpiece Halloween and that was only the beginning for this now legendary producer. Kathryn Bigelow burst on the scene with the vampire classic Near Dark in 1987 as did Mary Lambert in 1989 with the Stephen King adaptation, Pet Semetery. Rachel Talalay killed Freddy Krueger in Freddy’s Dead in 1991 and if not for the vision of Mary Harron, we wouldn’t have the modern classic American Psycho, which also showed us what a relatively unknown Christian Bale could do in front of the camera. Corman was not solely responsible, but certainly led the way during the 80s giving women a voice in horror behind the camera as well as in front of it…long before today’s generation of female horror filmmakers are making their presence known.

So, we are finally getting to see women make a strong mark as filmmakers in the horror genre. Their emergence was a long time coming, but there were pioneers that paved the way. While Roger Corman was not the only producer to give female filmmakers a chance on the creative end of the horror genre…and there were a handful of female directed horrors before the 80s, too…he did do it at a time where it was practically unheard of and he did it often. Do today’s filmmakers like Jen and Sylvia Soska have Roger Corman to thank for putting cracks in the barriers that they are now tearing down with their unique and talented visions as women in horror?…I’ll let you decide that for yourselves!

-MonsterZero NJ