Q aka Q – The Winged Serpent (1982)

Written, Produced and Directed by Larry Cohen

Though this would appear to be a straightforward picture about a monstrous winged serpent randomly attacking New Yorkers, it’s actually the tale of an Aztec death cult that has managed to revivify its god Quetzalcoatl to … randomly attack New Yorkers, apparently. With that setup, this bonkers production is patently ridiculous on one level, obviously, but it’s buttressed immensely by the contributions of David Carradine, Richard Roundtree, Michael Moriarty and others. (Moriarty’s Jimmy Quinn alone presents quite the psychological study.) With several of the winged serpent’s attacks being blatantly – and thus amusingly – similar, this green-screened stop-motion monster extravaganza even manages to throw in an undercover cop purporting to be a mime. Larry Cohen, ladies and germs.

Why Did I Watch This Movie?

A movie called “Q” about an inexplicable threat to ordinary citizens appealed to my sense of irony, or something. (Coincidentally, Moriarty is an expatriate American holding Canadian citizenship who once claimed he was starting a third party for “serious conservatives,” The Realists.)

Should you Watch This Movie?

Cohen knows how to make an entertaining film.

Highlight and Low Point

POWELL: “What I want to know is, how the hell does this tie in with the murders and the mutilations?”

: “Well, that’s what brought it back … awakened it from its … centuries of sleep.

This thing has been … prayed … back into existence.”

POWELL: “Right.”

Hmm, maybe it’s not an accident this flick is called “Q” after all. Do your own research, people. Six-time National League All-Star Ron “Penguin” Cey, who played the last of his 12 seasons with the L.A. Dodgers in 1982, has a small role as “Detective Hoberman.” Was this a sly
reference to longtime Village Voice film
critic J. Hoberman? DO YOUR OWN RESEARCH.

Rating From Outer Space: B+

Forbidden World aka Mutant (1982)

Directed by Allan Holzman
New World Pictures

Preposterous in almost every meaningful sense, this Roger Corman production may well be one of my new favorite movies – it’s great! A schlock masterpiece, it’s almost inconceivable any film crew could do any more with any less than is accomplished in this tale of Science Gone Horribly Wrong, Deep in Space Where No One Can Hear You Scream. (Although Dawn Dunlap as “Tracy” does her damnedest to disprove this theory.) From the blatant Star Wars miming of the opening space battle (which is itself recycled from an earlier Corman flick) to the pseudo Alien spaceship-cum-laboratory where the bulk of the action takes place, this picture has everything you could ask for and much, much more. And this isn’t even my usual disingenuous shtick – this movie is terrific. Is it great art? Hahaha, no. Is it derivative and shameless? Oh, my, yes. Is it nonetheless a must-see? As much as anything else on this site.

Why Did I Watch This Movie?

I found it on Tubi the same night as “Creepers,” and that was enough to convince me – finally – to just view it.

Should You Watch This Movie?

You like blatant ripoffs and have a healthy sense of the absurd, I trust.

Highlight and Low Point

Maybe halfway through, it occurred to me that “Dr. Cal Timbergen” seemed familiar to me for a reason, that being he’s “J. Frank Parnell” from Repo Man (aka Fox Harris). The scanty disco jumpsuits worn by Dunlap and June Chadwick (as “Dr. Barbara Glaser”) are perhaps even more ridiculously sexist than their utterly gratuitous dual nude scene. During the opening moments, as military officer “Mike Colby” is being brought out of stasis or whatever, he inexplicably experiences visions foreshadowing the adventures to come.

Rating From Outer Space: B+

Girls Nite Out aka The Scaremaker (1982)

directed by robert deubel
anthony n. gurvis/concepts unlimited

Jeez but the “girls” in this flick got some foul mouths on ’em, buddy. Although a copycat movie about a copycat killer – or IS it – WHOMEVER it may be – some surprisingly nuanced characterizations give this slasher ripoff a bit of its own personality, at least. The actors are all too old (of course), but I gotta say, those writing for ’em captured that peculiar tinge of collegiate life, where personas can get a little cloying and foibles are more apparent than their wielders probably ever dream. You will recognize elements exhibited in Graduation Day and replicated by Happy Death Day, and maybe even recollect The Prowler, if you’re that unlucky. Plus many more! All told, it’s passably entertaining, though.

why did i watch this movie?

Uh … yeah, I watched some of these pictures I’m now posting so long ago that I’m gonna hafta guess my motives in some cases. This one I think was because it’s an early-’80s slasher that was unknown
to me and the screenshots looked interesting,

should you watch this movie?

If, like me, you remain fascinated by just how many different ways people could think of to make essentially the same movie, many during the exact same time period – and you’re also enamored of the
ongoing permutations of same – well,
possibly you already have.

highlight and low point

There’s a kind of lost-in-time aspect to this film’s setting, where you can kinda glimpse all manner of pop-culture references endemic to its era … but that don’t seem purposeful. By which I mean, as the ’70s was transforming into the ’80s, there was a lot of bleed between period-specific touchstones. Can these productions serve as literal depictions of life-as-lived? Or is it cinematic artifice?

rating from outer space: B−

The Slayer aka Nightmare Island (1982)

directed by j. s. cardone
the international picture show company

For a flick with a ridiculously uninspired setup – two couples go to a remote island, where someone or something is bumping them off one by one – this small-time production winds up delivering a lot more than one would expect. I don’t think I’d go quite so far as to believe the claim that cineastes have long debated the manifold interpretations available to the ambiguous ending – how many people have even heard of this picture? – but although one’s immediate reaction to the final scene might be to feel a bit cheated, further reflection possibly may assuage such a response. It could also exacerbate it, of course, and hey, now I’m merging with those ca(s)hiers du cinéma(rt). Better than it should have been.

why did i watch this movie?

It’s called “The Slayer,” and it’s from 1982. Quod erat demonstrandum.

should you watch this movie?

It’s really more  of a character study than you’d be excused for expecting from a 1982 film called “The Slayer,” and kept reminding me of The Mutilator – which it predates – most likely because of the beachfront property.

highlight and low point

As Kay, Sarah Kendall gives audiences a pretty good indication of why they would never see her in anything ever again, but either her blank stares and flatness of affect eventually begin to seem more suitable or the dramatics of the rest of the movie overpower the urge to keep laughing. Kay’s an artist, which makes for an indefensibly inane analogy: though the plot here is akin to a paint-by-numbers kit, the end result is pleasing to the eye. The relationships between and among the couples are convincingly natural, and the final two minutes of this feature are a veritable tour de force.

rating from outer space: B+

The New York Ripper aka Lo squartatore di New York (1982)

directed by lucio fulci
fulvia film s.r.l.

“The violence here is ugly, demeaning and frightfully pathological,” the author proclaims, adding that the film “features long, lingering and loving shots of gratuitous sex, nudity and horrific violence.” He further contends that the picture is “reviled for its rampant misogyny, unspeakably deranged mutilation of women; and its duck-voiced, interminably quacking psychokiller” and “remains a hollow, forced, uninspired effort that very few have rallied to support.”

Well, sure, you think, but everyone’s a critic, and you crane your neck to see the title … and discover that those quotes are taken from the 1996 book Lucio Fulci: Beyond the Gates – A Tribute to the Maestro by Chas Balun.

I don’t have much to add, but allow me to correct a misspelling from Mr. Balun’s tome: when describing the scene with the prostitute and the razor blade and the eye and the nipple, the erstwhile scribe meant to write “bisected.”

why did i watch this movie?

Its notoriety, I guess. I also kept running across it while looking for blog fodder, so I figured I might as well just get it over with already.

should you watch this movie?

I suppose it depends on just how much you want to see that bisection alluded to up above. Trust me, you can live happily without hearing the maniacally quacking killer.

highlight and low point

The sheer overkill of most of the slashing, which favors closeups for emphasis, is kind of breathtaking in its appalling level of sadism. Also often filmed in extreme closeup: Yes, people’s eyes, the both of ’em. Five, six times, at least. The “psychological insights” are probably some sort of attempt to lend this picture a feeble justification for its existence, to no avail. The anachronistic music’s pretty groovy.

rating from outer space: F

Boardinghouse (1982)

written and directed by johnn wintergate
blustarr films

A “movie” only in the sense that someone filmed it, this amateur creation plays out like a cheap porno without the hardcore sex, or like an “erotic thriller” without the eroticism or thrills, or like a teen party comedy without humor or teens, or … I’d say you get the idea, but without experiencing this picture, you cannot. Shot on video – allegedly the first-ever film produced in that format and blown up for big-screen release – and beholden to the novelty of that medium in its contemporaneous milieu, the only thing this flick has going for it is the improbably weird story of its co-creators. The dramatic conclusion is akin to an extended Ozzy video – like, Ultimate Sin-era Ozzy, maybe.

why did i watch this movie?

Never mind that! Here’s a TRAILER!

should you watch this movie?

“Ladies and gentlemen, this is a warning to protect theater owners and the makers of this HorrorVision™ film. Viewers with nerve or heart conditions are advised to cover their eyes and ears whenever this object appears on the screen.”

“Thank you.”

highlight and low point

So, like, the writer/director/male lead and the female star of this movie (“Jonema” and “Kalassu,” who together are “internationally known as Lightstorm”) are disciples of “the Avatar, Sri Sathya Sai Baba,” and also the musicians behind the film’s soundtrack, which features two versions of their band, one of which performs in the picture under the name 33 1/3. This picture appears to include demonstrations of their lifelong devotion to the “constant practice of controlling and silencing the mind,” albeit in hyperbolized form. Oh, and their daughter is married to the lead singer of New Jersey’s long-running punk act Bouncing Souls. Please do not misuse this crucial information.

rating from outer space: D−

Death Dorm aka The Dorm That Dripped Blood aka Pranks (1982)

directed by jeffrey obrow and stephen carpenter
jeff obrow productions

Sloppy and unfocused, this run-of-the-mill affair struggled to hold my attention. The debut offering from Obrow and Carpenter, made a few years before their much more accomplished The Power, it reminded me why I find The Evil Dead so interesting as a filmmaker’s initial effort – its conceptualization. Here, all we have is a rather standard story about a small group of people being picked off one by one, with the usual false clues and misplaced suspicions. Many hallmarks of an essentially amateur production are also present, such as ragged editing and poorly paced and redundant scenes. I’m not saying I could do better; for a prospective script written by film students and shot on-campus during break, it’s more than good enough. Impressively, the ending contains an unexpected wrinkle.

why did i watch this movie?

As is often the case, as I was writing my review of The Power, I decided I should probably give this one a look.

should you watch this movie?

Aside from a cast of actors you’ll largely never see again, there’s nothing too interesting here aside from the opportunity to muse about the instincts of those who produce horror features. So very often the writers opt for set pieces and pat themes that conform to genre conventions. I suppose if you’re trying to sell investors and backers on your first attempt, this approach is reasonable, but it often just seems to be business as usual in this arena.

highlight and low point

Though it’s fairly easy at times to observe that these people had never made a movie before, they did a pretty convincing job with at least one of the death scenes.

Rating from outer space: c−

boy, that looks official


Visiting Hours (1982)

directed by jean claude lord
filmplan international/canadian film development corporation

Okay, I imagined this one was gonna be pretty lame, and in fact, I had put off watching it for the past couple years. It kept almost making the cut, but then I’d figure it was gonna be too tame and too much like a soap opera. Instead, it was actually a pretty taut affair, and despite some overly predictable developments, a rewarding choice. (It probably didn’t hurt that none of the other flicks I watched around the same time were much good.) Michael Ironside’s malevolent antihero is an implacable force, ably balancing out the fact that Wm. Shatner kept reminding me of so-called U. S. “president” Don T., through no fault of his own. (Shatner’s, that is.) A few genuinely surprising scenes during the climactic action were a welcome sight. I also found the subject matter, of a female media personality’s taking a stand opposing violence against women and triggering a backlash from a vigilante nutcase, to be very relevant in the current political climate.

why did i watch this movie?

The real question is what took me so long.

should you watch this movie?

It’s a quality choice for a random late-nite viewing when there’s nothing else “on.”

highlight and low point

My choice would probably be one and the same, to be honest: during one scene, the villain, Colt Hawker (!), sports a garment that appears to be leather-look vinyl or something similar. It looks godawful uncomfortable, and is quite apt for the scene, which involves a vicious misogynistic assault. It also precisely contextualizes the film. On a more personal note, I got a kick out of the fact that by coincidence, Lenore Zann plays minor roles in both this and Happy Birthday to Me, as I watched them during the same stretch.

rating from outer space: B

an AMC Gremlin, i believe

Alone in the Dark (1982)

directed by jack sholder
masada productions/new line productions

Sometimes, I watch a movie and I just wonder how it ended up exactly the way it did. Take this flighty little number: It plays essentially like a PG-rated family comedy, but it also includes some vaguely gory killings, flashes of nudity, a mislocated but frightening hallucination, and, unexpectedly, the band Sic F*cks. And Jack Palance, and Martin Landau, gleefully overacting as two deranged asylum escapees. Fans of the original NBC-TV series The A-Team will be glad to see “Howlin’ Mad” Murdock as the patriarch of the family in peril, and general film aficionados possibly will enjoy Donald Pleasence’s turn as the loopy, stoned head of the psychiatric institution turned porous by a power outage. Amusingly, the family never actually seems to be in the dark, thanks to the marvels of movie lighting. (Hardly anyone’s alone at any point, either.) Overall, a strangely effervescent experience given the subject matter.

why did i watch this movie?

I don’t recall exactly, but it’s possible the star-studded cast had something to do with it. It was described as being a lot more suspenseful.

should you watch this movie?

If you enjoy the way movies were made in the 1980s, as it’s very of that time. Change a few elements and it could have been almost any type of flick from its era. The “club” scenes, as always, are a bonus.

highlight and low point

Palance and Landau are highly entertaining, as is Pleasence’s understated performance, and the Sic F*cks were a treat (which ceased to be a mystery once I saw Adny Shernoff’s name attached to theirs in the credits). Drawbacks are a lack of commitment to the scare trade and what could be construed as tokenism in some of the stock characters.

rating from outer space: B

One Dark Night (1982)

directed by thomas mcloughlin
the picture company inc.

While it technically may be true that I’ve never personally been assaulted after hours in a mausoleum by psychokinetically controlled corpses , I think I safely can say that it wouldn’t seem as threatening in person as it does to several of the characters in this ’80s trumpery. The reason I state this with such confidence is that the dead (which appear to be wax dummies) are not reactivated or anything, they’re just being propelled slowly across the floor. That they apparently somehow manage to kill two people – by, uh, falling on them? – is a special bonus. The preposterous tale of a proponent of “psychic vampirism” experimenting in the manipulation of “bio-energy – the electromagnetic force in all living things,” this picture would be a complete failure if it weren’t so utterly absurd. As it is, it’s passable as kitsch … barely. The presence of Adam West helps in that regard, as does the fact that the dramatis personae largely are supposed to be portraying high-school students, which is patently ridiculous.

why did i watch this movie?

You know, scads of scare flicks have a similar “plot” as this one (the “spend a night in the mausoleum or equivalent for some reason” part, that is, not the telekinesis gobbledygook), so I may have chosen to start here because of the inspired title.

should you watch this movie?

The laughs one may get from the special effects are probably not fair compensation for enduring the hour and a half.

highlight and low point

The climactic scenes featuring the “attack” of the corpse puppets are hard to beat for sheer folly, but the director does not seem to have had much more skill in guiding the living cast members.

rating from outer space: d