Deathstalker II: Duel of the Titans (1987) Review

A Princess enlists the aid of the renowned hero Deathstalker and together they take on the forces of evil to take back her kingdom.

Jim Wynorski takes over directing duties of this Roger Corman produced sequel. With equal amounts of gratuitous nudity, pig-men, lapses in logic and low budget trappings, this outing is more tongue in cheek than the original, even going as far to mention Conan the Barbarian. The highlights of Wynorski’s offering is a straight zombie scene in contrast to a ridiculous wrestling match. Intrusive stings aside, Chuck Cirino’s bombastic western poppy score livens up the wacky action, swordplay and clone high jinks.

Deathstalker is played by John Terlesky who replaces Rick Hill, swaggering Terlesky does his best Indiana Jones, Han Solo. Here Deathstalker is more swashbuckling Robin Hood-like along side Monique Gabrielle who does her best with the script as Princess Evie, a carbon copy of Kate Capshaw’s Willie character in Temple of Doom and Princess Jehnna, from Conan the Destroyer. Gabrielle seems to have more fun while playing her serious evil clone. Memorable are leather clad Toni Naples and John LaZar who have plenty of fun hamming it up as the villains. María Socas is notable as the Amazon Queen who steals every scene. That said, Gabrielle retains her crown in the humorous outtakes. 

Overall, part 2 is far more enjoyable than it should be thanks to it’s pacing and likeable leads.

Deathstalker (1983) Review

A warrior named Deathstalker is sent on a quest by a witch to find a chalice, an amulet, and a sword, soon he finds himself making new allies whilst battling warriors, creatures and a wizard.

Off the back of Conan the Barbarian (1982) director James Sbardellati’s (credited as John Watson) offering is in the vein of The Sword and the Sorcerer (1982) but lacks the scope. Writer Howard R. Cohen’s adult orientated plot is paper thin.

Modelled on He-man Rick Hill (with a mix of Peter Weller and Dolphin Lundgren) does a good enough job as Deathstalker. Wearing very little the late Lana Clarkson steals the show. Richard Brooker as Oghris is notable. Gratuitous nudity galore, unnecessary rape, produced by Roger Corman it has all the production pitfalls you’d expect, including cheap sets and choppy editing, but is high in concept and is entertaining for the most part. Óscar Cardozo Ocampo’s music raises the production and staged fight scenes, even if a little intrusive at times. The giant pig-man gladiator fight scene setup is a highlight even if nothing like the promotional art. Also the showdown is interesting even if borrowed from Superman II (1980) where Flash Gordon’s Ming-like sorcerer Munkar played by Bernard Erhard gets to shine a little.

Overall, it takes itself seriously, it’s violent, with wall to wall scantily-clad leads and extras. It has a strange appeal, oozing low budget eighties sword and sorcery shenanigans. One of the better Conan cash-ins, even if the poster art is better than the film.

Blood from the Mummy’s Tomb (1971) Review

A British archaeologist and his team bring an embalmed Egyptian royal and relics back from their latest expedition… but years later strange events unfold from his secret recreated tomb under his house when he gives his daughter Margaret, Queen Tera’s ring.

Overlooked due to its troubled rushed production, mainly Peter Cushing having to leave due to his wife’s illness and the death of director Seth Holt (and finished by Michael Carrera). Blood from the Mummy’s Tomb is one of the better Mummy Entries thanks to a great performance from underrated Valerie Leon who plays both Margaret and Tera. Mark Edwards is notable along with the leads who are solid enough with some good character moments. It’s all you’d expect from a Hammer Film production. The limited location production has an eerie atmosphere and is alluring viewing thanks to Leon’s screen presence and Tristram Cary’s score . Arthur Grant’s cinematography gets to sine in the outdoor scenes.

Credit to Holt and Carrera’s staging there’s never a dull moment, even if the editing at times is a little ropey and jarring possibly due to the material editor Peter Weatherley had to work with. Christopher Wicking’s screenplay based on Bram Stoker’s The Jewel of Seven Stars is engaging, even if familiar with many of mummy tropes; you’d be disappointed not to have. Interestingly there’s no wrapped mummy action on screen, unless you count the ambiguous ending. That’s said, you get a severed hand, a cabal of priests, a tomb, sarcophagus, ancient rituals, a dagger, relics and there’s plenty of bloody deaths (even if the end results are unimaginatively similar).

Overall, worth viewing for Valerie Leon’s dual performance and costumes alone, it’s a pity she didn’t headline more horrors.

Is Shadows of Dismemberment a Christmas title?

Is Shadows of Dismemberment a Christmas novel? Well, if Die Hard is a Christmas film, maybe not. Is Nightmare before Christmas a film or a Halloween film? Shadows of Dismemberment spans many decades, and many holidays and seasons. That said, as bodies pile up, Christmas is a pivotal time and poignant to John Sartori especially on the snowy streets of New York City, and across the pond; a farm house in Wales. Without spoiling the plot for those who haven’t read the novel, John’s hunt for a serial killer sends him down a rabbit hole, he and Kelly have to face there own beliefs, even their own realities. As the tagline reads: To try and stop a serial killer is deadly… To follow in their shadow is hell!

If you’ve read the book please review and/or spread the word —word of mouth is as important as ever, (but don’t spoil the twists) drop me a line on social media to discuss the plot etc. and how it fits with my other works including ‘Skeletons in their Closets’. If you’ve not read Shadows of Dismemberment the blurb is below, order here: https://www.amazon.com/Shadows-Dismemberment-M-Esmonde-ebook/dp/B08XY83Q31/or from all good bookstores. Check out the trailer here: https://youtu.be/1DeVe8p4Fzw Also take a look at the Shadows of Dismemberment art collection on social media.

In 1938 a heinous serial murderer inexplicably slipped through the fingers of Eliot Ness, one of Americas most revered investigators.

Over 80 years later, haunted veteran and ex-private investigator John Sartori finds himself following in Ness’ footsteps when body parts are found discarded under mysterious circumstances.

What makes a serial killer kill? Following clues from one side of the globe to the other, rumours of curses, rituals and lost souls scupper his case. Soon he becomes immersed in a macabre world of death and supernatural mayhem.

John thought his horrifying past encounters had tested his psyche but when faced with a diabolical murderer things are never as they seem.

Thanks for reading, sending you seasonal greetings.

All the best,

A

Stir of Echoes: The Homecoming (2007)

A US soldier returns home Iraq but is haunted and not just by the wartime chaos he encountered.

Writer director Ernie Barbarash delivers an above average straight to DVD cash-in follow up to the original Stir of Echoes which was a hit for Lionsgate Home Entertainment. The sets ups and jump scares are effective, even if somewhat familiar. The sound and Norman Orenstein’s music cues becomes repetitive. Mitchell Lackie’s editing along with the digital effects are a little distracting at times rather than enhancing. That’s said, there’s some effective FX makeup moments.

Rob Lowe as Ted does a solid job with the thin script which heavy handedly tackles PTSD and the horror of war as Barbarash’s offering mimics the original. It ties to the first film with the inclusion of Jake Witzky even if his age is questionable. However, it may have fared better as a stand alone with a different title. While the cinematography is good it lacks the eerie quality and punchy twist that made the first one so effective.

Overall, like so many DTV sequels, it doesn’t hold a candle to its predecessor, but it’s worth watching for Lowe and some familiar cast faces.

Into the Sun (1991) Review

A pilot and an actor are thrown into a life of death situation when they are shot down in enemy territory.

For the budget director Fritz Kiersch (Children of the Corn (1984) delivers some well staged and directed scenes, Steve Grass’ cinematography give the real locations scope, aside from the shoehorned aerial stock footage (taken from Iron Eagle). The sets are well lit and offer some atmosphere. Writers John Brancato and Michael Ferris offer a Rambo III-like second act with the borrowed concept of The Hard Way (1991) , an actor gets thrown into a real dangerous situation with mixed results.

In amongst the bookend dogfights and compound explosions underrated Michael Paré does a good job with the paint by numbers screenplay along with likeable Anthony Michael Hall. A few familiar faces pop up including Terry Kiser, Linden Ashby, Deborah Moore and Brian Haley. Tonally it’s up and down, a comedy one moment, then serious action in a flash in a bid to appease as wider audience as possible.

Ultimately, it’s better than it should be, probably more rewarding than 80 percent of the films that are churned out these days, thanks to the even production and cast.

Sleepaway Camp III: Teenage Wasteland (1989) Review

After stealing someone’s identity serial killer Angela returns to the camp where she brutality slain a bunch of teens to carry out more grisly murders on the new campers.

Director Michael A. Simpson returns with an epic pre-credit kill on the the streets of New York, with a slicker filmed sequel. Sleepaway Camp III: Teenage Wasteland (aka Nightmare Vacation 3) has more, boobs, drugs, killings and rock music, but possibly less makeup effects. Even though filmed back-to-back with Sleepaway Camp II the editing is tighter this time and cinematographer Bill Mills also returns to lift the look of the locations.

In keeping with part 2’s continuity Pamela Springsteen reprises her role as disturbed moralistic serial killer Angela. There’s a few padding flashbacks and further tie-in is Cliff Brand as cop Barney, father of one of the boys murdered in the previous instalment, which in between the daisy chain kills gives it a little weight. Both Kim Wall and Kashina Kessler’s Maria leave an impression. Notable character actor Michael J. Pollard appears as Herman.

Angela’s murderous heart is for the most part in the right place killing drug users and racists to name a few with fistfuls of kills. The transgender topic isn’t really explored, neither is plot of the camp coordinators aiming to bring together rehab privileged kids from the suburbs with with underprivileged kids from the big cities. With more black comedy, 80s atmosphere, part three is debatably more polished, but the deaths less elaborate than its predecessor,

Overall, there’s enough fun slasher antics for fans of the franchise to enjoy this third addition.

Sleepaway Camp II: Unhappy Campers (1988) Review

Spoilers

Five years after Angela’s original killing spree, now working as a counselor, she/he picks up her old habit murdering misbehaving teenagers at another summer camp.

Michael A. Simpson’s Sleepaway Camp II: Unhappy Campers (aka Nightmare Vacation 2) hasn’t the whodunit plot of its predecessor; but instead injects in some black comedy. Because we know the killers identity—part 2 is really is a series of daisy chained kills with nods to various horror franchises, including the likes of Friday the 13th, A Nightmare on Elm Street, and The Texas Chainsaw Massacre. Bill Mills cinematography gives it some much needed scope.

Pamela Springsteen (sister of singer Bruce) replaces Felissa Rose as warped moralistic Angela, which unfortunately takes away the continuity. Still, Springsteen seems to enjoy the self-aware humor and executing the death scenes. Angela’s topical sexuality is left ambiguous; and isn’t really explored or expanded upon. Notable are both Valerie Hartman and Susan Marie Snyder. However, Carol Chambers Brooke is memorable even if her screen time is limited. A-lister actor Walter Gotell also appears as Uncle John.

The sequel’s tone is different, with a more 1980s mainstream appeal, Simpson throws in more nudity and drug use than Hiltzik’s original as campers are played by older actors. The low-budget slasher special makeup effects add a little a little pizazz and gloss over the bumpy pace. There’s enough beheadings, stabbings, strangulations and frat house-like antics to fill in the gaps. After the murder spree the cliffhanger ending oozes 80s horror complimented by its rock soundtrack.

Overall, it’s paint by numbers staple 80s shenanigans, with enough kills to appease sub-genre fans.