Death Chase (1988)

Death Chase (1988)- * * *



Directed by: David A. Prior

Starring: William Zipp, Jack Starrett, Reggie De Morton, Bainbridge Scott, and Paul L. Smith

Steven Chase (Of course his name is Steven Chase) (Zipp) is just a mild-mannered resident of Riverside, California who is out for a bike ride with his sister. Seemingly at random, violence erupts and there are car crashes and shootings. One of the mysterious men who gets shot hands Steven Chase a gun and says to him, “you’re it”. Now a pawn in a deadly “game”, Steven Chase goes on the run, having to shoot and/or beat up all the goons that are suddenly after him. Thankfully, he has the help of Diana (Scott) and his buddy Eddie (De Morton). Lt. MacGrew (Starrett) of the LAPD is also on the case. On top of all that, a large man named Steele (Smith) seems to appear wherever the “Death Chase” is going on. Will Steven Chase survive this…Deathsport? Sorry, DEATH CHASE? Find out today!



Before Deathfight (1990), before Fugitive X: Innocent Target (1996), before The Game (1997), and certainly before The Tournament (2009), Death Chase was first in the “innocent guy caught up in a game where people try to kill him” sweepstakes. Leave it up to David A. Prior and AIP – sure, they might have small budgets, but they have big ideas. Entertaining ideas that were used later in other forms. Will Prior and the gang ever get the proper credit? Probably not…except on sites like ours.

If you’re familiar at all with AIP, Death Chase delivers a look and style that you may be used to. Having seen most of AIP’s output at this point, we found it comforting. Low-budget stunts, shootings, and chases (of course) are the order of the day. Chase is chased by car, by motorbike, by boat, on foot…pretty much any way a human being can be chased. One thing you can’t deny – the movie lives up to its title. 

AIP stalwart William Zipp is well-cast as Mr. Chase, our hero. Fan favorite Paul L. Smith brings more life to the proceedings as Steele, and veteran actor/director Starrett is interestingly cast as MacGrew. While Reggie De Morton should have been given more to do, actually the movie felt overlong at 93 minutes. This basic idea could have gotten its point across at maybe 80-85 minutes.

Yes, there is a lot of mindless shooting, and pure silliness with a lot of people talking in funny voices that are post-dubbed in an amusing manner. But that being said, the idea of the corporate overlords in a smoky back room playing a real-life version of Risk with actual people’s lives is a good and interesting idea. The makers of the aforementioned The Tournament must have thought so. Also, the two female assassins playing “the game” was an idea we enjoyed. The idea of a bunch of people tasked with killing Steven Chase and he doesn’t know who to trust or where to turn put us in mind of John Wick: Chapter 2 (2017). Could it be that the makers of the John Wick franchise have seen Death Chase? We may never know…

Once again, some ace Steve McClintock music is on the soundtrack. Songs like “Running With The One I Love”, “What’s Goin’ On”, and “Can’t Get Enough” are movie highlights. McClintock always delivers the goods.

So, for an adventurous AIP outing that probably won’t change your life but fits squarely in the AIP canon (and was quite ahead of its time), do check out Death Chase.

Comeuppance Review by: Brett and Ty

Also check out a review from our buddy Keith From The Unknown Movies!

Code Name: Vengeance (1987)

Code Name: Vengeance (1987)- * * *

Directed by: David Winters

Starring: Robert Ginty, Shannon Tweed, James Ryan, Don Gordon, and Cameron Mitchell

In Africa, an evil terrorist named Musseem Tabrak (Ryan) seems to be gaining political influence in his region. In order to further his nefarious ends, he kidnaps the wife and son of one of his rivals. That’s when the ambassador, Harry Applegate (Gordon), calls in the only solution to this geopolitical problem: Monroe Bieler (Ginty). Bieler is a warrior who was imprisoned by Tabrak for twelve years and is burning with the desire for revenge. Applegate teams him up with a guy from the U.S. consulate named Chuck Hawley (Brophy), but things really start to heat up when Bieler re-connects with old warhorse Dutch Busselmeyer (Cam). Along with love interest/reluctant compatriot Sam (Tweed), the four unlikely heroes proceed to shoot, blast, and blow up the minions of Tabrak – but who is the true mastermind? Will Applegate wrap himself in the flag…and will Monroe Bieler live to machine-gun-shoot another day?


Fan favorite Robert Ginty saves the day in CODE NAME VENGEANCE, an entertaining shoot-em-up/blow-em-up that you pretty much have to love. It's an AIP-distributed outing from director David Winters which looks more professional than usual. His production company this time around was The Killmasters Company, and when you see that that is the first credit on the screen, you know you’re in for a good time.


As we’ve noted before, there are many types of dumb. Thankfully, Code Name Vengeance is the fun kind of dumb. Lots of very stupid things happen, but you can’t help but smile. The movie has that 80’s charm mixed with the type of charm that comes from clunky editing and ridiculously-staged action scenes. The viewer can get by on this combination of dumbness and charm any day of the week. It is also satisfying to see black-robed terrorists getting killed by the good guys. There are many instances where all this comes together. For example, in one scene, there are some terrorists in an abandoned warehouse. Ginty somehow hooks a bunch of grenades onto a very, very slow-moving forklift and sends it towards them. The baddies see this coming and have ample time to run away. Instead, they just sit there for a long time, yelling. Then they blow up. Thank goodness.

When we first see Ginty, he’s embroiled in a prison-yard fight and he looks a lot like Chuck Norris. Then we see Gordon as Applegate and he looks a lot like John Saxon. We went on Cam watch and he eventually shows up 43 minutes in. He adds a lot of energy and even gets into the shooting action with the younger cast members. He would shortly re-team with James Ryan in another South Africa-shot David Winters movie, Rage To Kill (1988).


All the other characters, but especially Hawley, say Bieler’s name many, many times. Almost every sentence they say ends with the word “Bieler”. “I don’t think so, Bieler”, “Not a good idea, Bieler”, etc. It’s not even that cool of a name. By contrast, James Ryan’s name in Rage To Kill was Blaine Striker. Now that’s a name worth repeating. Bieler is dangerously close to Bieber. Obviously they must have known that in 1988 and should have acted accordingly.


The music, by Steve McClintock along with Mark Mancina and Tim James, is terrific and McClintock contributes yet another excellent song, “Is It Really Love?” This just goes to further prove that McClintock was one of the most underrated musical talents of the 80’s.

All the ingredients are here: the Winters direction, the McClintock music, the conspiracy that goes all the way to the top, the terrorists getting blown up, the silliness, the combination of Cam Mitchell, Shannon Tweed, and Robert Ginty, and it was the 80’s. Consequently, it’s easy to love Code Name Vengeance. We say give it a watch.

Comeuppance Review by: Ty and Brett 

Invasion Force (1990)

Invasion Force (1990)- * * *

Directed by: David A. Prior

Starring: Richard Lynch, David "Shark" Fralick, Renee Cline, Douglas Harter, and Walter Cox

A film crew – an AIP film crew, no less – is shooting their latest action movie in the woods around Mobile, Alabama. Sure, there are some of the typical squabbles that go on, but jokes are being told and pranks are being played in the crew’s off hours, so all seems to be going as normal. That is until a paramilitary organization led by Michael Cooper (Lynch) parachutes into the area with his goons. This INVASION FORCE plans to take over a city (presumably Mobile) as part of their dastardly plans. 



They take the director, Ben Adams (Cox) hostage and begin shooting people with machine guns. The film crew only has their prop guns, explosions, and tanks to fend them off, so they’re going to have to use their wits to foil the plans of the baddies. Thankfully, Joni Marshall (Cline), the lead actress, and Douglas Harter (presumably playing himself), the weapons expert, have some tricks up their sleeves. In this battle of film crew versus the bad guys, who will come out victorious? And will there be a final twist to this AIP movie-within-an-AIP movie?


A lone, shirtless meathead stalks the forest. He begins shooting two machine guns at the same time and blowing up various huts. It’s a promising start. Soon enough, the director calls cut and lead star Troy (Fralick) whines that the aforementioned Joni stepped on his foot. What AIP mastermind and writer/director David A. Prior seems to be implying is that these action stars might not be so tough after all. 



Prior goes on to postulate what might happen if one of his small film crews, who normally are so expert in rigging up explosions and providing actors with ammunition, came up against the real thing in real life. How would they handle it? Interestingly, this same ground was covered in Contra Conspiracy (1990) that same year. It would be an interesting double feature of low-budget meta mayhem.


While certainly not a behind-the-scenes documentary of AIP, Invasion Force might be as close as you’ll get. The movie takes the time to show everyone in the crew, from the chef on down, interacting with each other. AIP mainstays like Doug Harter and Sean Holton (as Joey) are engaging and very likable. The director, Ben, bears a strong resemblance to – and should have been played by – Brian Benben. Coincidence? 



There’s a crew member who looks exactly like Andy Richter who has to help fight the baddies as well. Lower-tier fan favorite and Frank Zagarino competitor David “Shark” Fralick has some fantastic outfits and is well-cast as the musclebound hero. While most of the men in the movie have mullets, we think the bandanna he wears is to cover up his thinning hair on the front of his head. But it’s just a theory. Of course, Richard Lynch is the “Lynch-pin” that holds it all together. (Heh heh). But it’s true.


Could Invasion Force be one big ego trip for Prior and his band of AIP stalwarts? The idea that they could fight against a paramilitary group with real guns and ammo in real firefights? Maybe, maybe not, but it's a good idea for an 83-minute direct-to-video action movie. 


Even still, Prior and the gang managed to fashion something modest, yet entertaining, on a rock-bottom budget, which is impressive. Imagine Red Dawn (1984) meets Invasion USA (1985) meets Mankillers (1987). And they even thank the Piggly Wiggly, among other chain stores like Krispy Kreme and Home Depot, in the closing credits. It's blue-collar, homespun filmmaking all the way and therein lies the charm.

Comeuppance review by: Brett and Ty 

Lock N' Load (1990)

Lock N' Load (1990)- * * *

Directed by: David A. Prior

Starring: Jack Vogel, Renee Cline, and William Hathaway-Clark

Paul McMillan (Vogel) is a Vietnam veteran living in Colorado. After having some very strange nightmares, he begins to notice that the members of Delta Company – his outfit in ‘Nam – all begin committing suicide. First they go on some sort of crime spree, and then they off themselves. Because this is happening so systematically, McMillan deduces that something nefarious is going on behind the scenes and he begins his investigation into the bizarre happenings.



Teaming up with the wife of one of his former compatriots, Claire Hamilton (Cline), and Detective Bach (Hathaway-Clark), McMillan demands answers. But it’s not going to be easy to unravel the mystery. What is “King’s Pawn”? And what is the secret behind the phrase “Lock and Load”?



Lock ‘n’ Load is one of the more somber and subdued AIP movies out there. If you liked AIP’s Night Wars (1988), surely you will like this one as well, as it deals with similar subject matter. The whole outing has a certain rough-hewn charm and the emphasis here seems to be on drama and intrigue, rather than shooting, blow-ups, and silliness. Sure, some of that is here, and there is a classic drug deal gone wrong, but it’s all pretty serious-minded. Thankfully, it’s done well and makes for a nice change of pace.



Speaking of pace, it is a little slow, but there’s nothing wrong with that per se. Vogel/McMillan really, genuinely seems to care about what’s going on. McMillan is a good hero – he’s cool, but he’s not an outrageous caricature. Vogel had been in other AIP movies such as Hell On The Battleground (1988) and Order of the Eagle (1989), and even served in a behind the scenes capacity on Maximum Breakout (1991). But this is truly his “Breakout” role.



As for his co-star Renee Cline, she was no stranger to AIP and David Prior productions – she was in Future Zone, Invasion Force, The Final Sanction, and Lock ‘n’ Load all in the same year – 1990. Talk about a banner year! Fitting with the overall tone of the movie, her performance is a total 180 from Invasion Force and she goes for a more melancholy and sedate style.


Unfortunately, Lock ‘n’ Load is the only screen credit for one William Hathaway-Clark, who played the mustachioed Detective Bach. We liked him and we thought he added to the movie. Also, if you look carefully at McMillan’s legal pad where he has his list of Delta Company veterans who are behaving strangely, you see the name David Prior. If you blink, you’ll miss it, but it was a nice in-joke.


Lock ‘n’ Load doesn’t seem to be one of the more well-known AIP movies, but if you like that classic AIP style, give it a chance. It’s a little bit different from the rest (well, with the possible exception of the aforementioned Night Wars) and the muted style may appeal to you.

Comeuppance Review by: Brett and Ty 

The Death Merchant (1991)

The Death Merchant (1991)- *1\2

Directed by: James Winburn

Starring: Lawrence Tierney, Ivan J. Rado, Melody Munyon, Monika Schnarre, Robert Viharo, Martina Castle, and Andrew Singleton

“History has shown us that death merchants have always attempted to close the “ultimate deal”. Let us hope that their evil endeavors continue to fail.” – Closing words of The Death Merchant



Ivan Yates (Tierney) is some sort of death merchant. What is a death merchant, you ask? Well, in the case of Yates, the answer appears to be an elderly and ailing black marketer who wants a special microchip so he can control the world’s nuclear arsenal. In addition to that, he wants a priceless urn containing the ashes of the ancient Egyptian Shohamen. Also he talks to his pet fish named Seymour.


When an archaeologist, Dr. Farraday (Rado), and his daughter Amanda (Schnarre, of Peacekeeper fame) get tangled in the web of Ivan Yates, only one man can help them out of their predicament: one David McKinley (Singleton), from the Cultural Affairs Department of the U.S. Government. Realizing he needs more power because he is somewhat of a nerd, McKinley turns to 1991-era coolguy Jason Cardwell (Viharo). So now McKinley, Cardwell, Farraday and Amanda have to come up against the conniving and duplicitous Death Merchant, who also has as backup baddie-esses Martina (Castle) and Natasha (Munyon). Who will come out victorious in the battle between the Death Merchant and the entire U.S. Navy?


James Winburn is known primarily as a stuntman, but he has directed three movies in his career: One is The Death Merchant, another is Evil Altar (1988) starring Robert Z’Dar, and the final movie in his trifecta is Miami Beach Cops (1992). While, taken together, that is impressive, if you must see one Winburn movie, see Miami Beach Cops. The Death Merchant appears to suffer from some technical problems, as the sound is horrendously shoddy, and the picture isn’t so hot either. The fact that the movie has audio issues is especially egregious because the movie stars the late, great Lawrence Tierney. Tierney’s inimitable voice CARRIES this movie. If it wasn’t for Tierney and his voice, this movie would be nothing.

We were worried that, though the movie features Tierney, it would be a mere sit-down role. Thankfully, it’s not. Tierney gets a lot of great screen time, and in not all of it is he sitting. Winburn used the man to his full potential, as far as rock-bottom budget AIP movies shot towards the end of his life would allow. Tierney is truly “America’s Angry Grandpa” as he barks and growls his way through the muddy and muddled proceedings. This ‘Merchant must think it’s “Of Venice” because of all the highfalutin and pseudo-Shakespearean dialogue. It’s a clumsily written film, and the lines are delivered awkwardly by a cast of inexperienced actors (except Tierney and Rado, of course).


Our main “hero”, McKinley, is played by Andrew Singleton, and, oddly, this is his one and only movie role to date. He has a penchant for skinny ties and he has a curly mullet. So, obviously he’s the hero. Martina, on the other side of the Death Merchant/anti-Death Merchant divide, was last seen in Total Exposure (1991), released the same year as ‘Merchant. What a year it must have been for her.


There’s a car blow-up and some very weak gun-shooting, but despite its release on ACTION International Pictures, there’s not really any action here to speak of. Most of what we see is a lot of nonsensical “intrigue” that the limited means of the production didn’t really have the wherewithal to support. Perhaps that is best evidenced by the fact that the opening of the film is the exactly the same as the climax. Literally it’s the same footage we already saw. Granted, there’s some McKinley footage spliced in during the second go-around, but come on. In general, though, we give the filmmakers points for trying, and Tierney is fantastic, but The Death Merchant is a no-sale.

Comeuppance Review by: Brett and Ty

Fatal Skies (1990)

Fatal Skies (1990)- * * *

Directed by: Thomas E. Dugan

Starring: Timothy Leary, Veronica Carothers, Tim Burke, J. Michael Esposito, Geoff Meed, Melissa Moore, Maureen Shannon, and Vernon Buckwald

In the small town of Beauville, California, something nefarious is afoot. A no-goodnik named Buddy Boyle (Leary) is dumping hazardous waste into the pristine countryside, and he’s using the local goons to help him out. 

When a group of skydiving-mad teens inadvertently stumble onto what Buddy is doing, they at first try the local authorities, but of course they’re on Buddy’s payroll, so, led by girlfriend-boyfriend team Toni and Duane (Carothers and Esposito, respectively), and Toni’s Uncle Jack (Burke), the pilot of their beloved plane, the group attempt to foil Boyle. But it’s not going to be a Freestyle Formation in the sky for this group, especially now that we’re dealing with FATAL SKIES (though to be fair, the skies are perfectly fine. Boyle is polluting the ground. But who’s counting?)

There is an art to casting your movie or TV show. It’s a delicate balance that you don’t want to get wrong, and it can make all the difference in your project. If you cast someone who is inappropriate for the part, it can ruin your movie, but if you cast the perfect person, it can tip the scales in your favor and can propel your movie to new heights of success. The Casting Society of America even has its own awards, honoring the best in the field, called the Artios Awards. Or you could just say, “screw it, we’re getting Timothy Leary”.


The sheer insanity of casting the then-69-year-old Leary as the main baddie in your movie – who did indeed have an acting resume to fall back on, despite the fact that he was mainly known as a Harvard professor and LSD proponent – is, well…pretty insane. But it’s all part of the magic of the video store era that never-to-be-replicated casts can be assembled. 

Not since Art Garfunkel had a Short Fuse or Steve Guttenberg went Airborne have we seen such an inspired casting decision. Mr. Leary is backed up with some great people as well, so he doesn’t steal the show – Tim Burke as Uncle Jack is likable and comes off as a cross between James Doohan and Mike Ditka. Geoff Meed is a classic meathead, Melissa Moore has a very small part as one of the teens, Maureen Shannon is downright weird as Willy, and one Vernon Buckwald as the Don Knotts-like Sheriff Horne leaves a pretty strong impression. He even reappears after the end credits.


But the main star of the show is, let’s face it, Veronica Carothers as Toni. She started off her career as the production secretary on Deadly Prey (1987) and parlayed that into a pretty successful career as a so-called “scream queen”. She can be seen in Mankillers (1987) and She-Wolves of the Wasteland (1988) as well. Her beauty is downright mesmerizing and the movie can be enjoyed just for her presence in it. She even pioneers a new slang word – not since Conflict of Interest (1993) and “Jerk Beef” and Bulletproof (1988) with “Butthorn” have we seen such creative use of language. At one point she calls Duane, and we quote, a “Dweezel”. Not to be confused with the fine musician Dweezil Zappa, we assume. That was what was so great about the 80’s and early 90’s and DTV – there were no rules and lots of creativity, even when it came to the words people said and/or invented. You don’t get that today.


There is a lot of bizarre and silly dialogue like that. At times, it almost seems like the script was written in a foreign language and then translated by a computer, then presented to the actors. Even still, it seems like Steven Seagal – or, at least, On Deadly Ground-era Steven Seagal – would appreciate its environmentally-minded message. Maybe because it’s the only directing or writing credit for one Thomas E. Dugan to date, but it’s hard to tell the tone of this movie. One minute it seems like it’s tongue in cheek, or possibly trying to be funny, but then the next minute it’s serious-minded. There’s no consistency there.

There are shootings, stabbings, chases, blow-ups, and the like. And, once again proving DTV product is way ahead of its Hollywood counterparts, the whole thing predated Extreme Ops (2002) by a whopping twelve years! Honestly, you had us at “Skydiving Teens Foil Pollution Plot by Timothy Leary”. Only in the video store era, we tell you. Only in the video store era.

Sure, it’s pretty dumb and all over the place, but there’s one thing you can certainly say about Fatal Skies: it’s unique. So let’s stay on the bright side and look at it that way.

Comeuppance Review by: Brett and Ty

The Last Ride (1991)

The Last Ride (1991)- *1\2

Directed by: Karl Krogstad

Starring: Dan Ranger, Michael Hilow, Ron Ben Jarrett, Amy Nohavic, Renn Richards, George Dietrick, and William Winship

"Debbbbiiiiieeeeee!!!!!!"- Bart





A man named Michael Smith (Ranger) finally gets out of jail after eight years. He seems like a nice enough guy, and he claims he was innocent. After saying a heartfelt goodbye to his long-time cellmate Adams (Jarrett), Smith hits the road to soak up his newfound freedom. Unfortunately, Smith’s life on the outside takes a dark turn when a psychotic trucker named Phil Holtman (Hilow) picks him up while hitching. You’ll understand the reason for the italics momentarily. Meanwhile, our old buddy Phil is off acting crazy and killing people. Local waitress Debbie (Nohavic) is at risk. While initially a suspect, Smith ends up working with the authorities in the area, Sheriff Bolt (Winship) and policeman of the year Bart (Dietrick). Will Michael Smith get out of this jam? Or will this be his LAST RIDE?


The Last Ride is AIP’s take on The Hitcher (1986). The plot, the structure, and even individual scenes are, let’s say, HIGHLY influenced by it. Because it’s all done in that inimitable AIP style, imagine a cross between The Hitcher and Maximum Breakout (1991). If you ever watched The Hitcher and thought its one impediment is that its budget was too high, this is the movie for you.


Dan Ranger has an awesome name. We wish we were Dan Ranger, or even had his name. We would be sitting pretty. The original Dan Ranger, or Daniel P. Ranger as he is credited here, never seems to have capitalized on his fantastic name. He was only in this movie and Cop Out (1991) the same year. What a year that must have been for Mr. Ranger. Of course, during the filming of Cop Out he had to contend with David Buff, who challenged his supremacy in the awesome name sweepstakes. Ranger must have felt humiliated and left the movie industry forever. Ranger looks a lot like Jan-Michael Vincent and he does his best.

The main baddie, Phil, is more annoying than scary. And the doctor who comes to save the day, Dr. Jim Rouchet (Renn Richards, in, amazingly, his only screen role to date) looks like a mustachioed Dick Clark. It appears all his dialogue was post-dubbed, and by a stage-trained master thespian with a lot of gravitas. Speaking of master thespians, that brings us to George Dietrick as Bart, one of the police officers. At one crucial point in the story, he realizes this is his “Streetcar Named Desire” moment and he gives it his all. We commend him for that.


The usual AIP mainstays are here, of course – the movie was written by Ted Prior and co-produced by David A. Prior, and it was shot in and around Fall City, Washington. It retains that regional vibe, and the whole thing is 75 minutes long, not including the world’s slowest end credits crawl. Despite its brief length, it feels longer because this is not one of AIP’s more creative or energetic outings. It feels almost like it’s going through the motions. Sure, there are a handful of standout moments, but that’s all they are – moments. Sadly, director Krogstad and most of the rest of his cast never developed their talents beyond this initial venture. It would have been interesting to see that evolution, but here we just get a taste of what could have been.

In the competitive world of DTV in the early 90’s, you had to be on your game, and it seems The Last Ride just didn’t have what it takes to survive. Thus it became, unfortunately, just more video store shelf-filler. It didn’t have to be that way, but more twists, surprises, verve, or originality might have helped.

Comeuppance Review by: Brett and Ty

Blood On The Badge (1992)

Blood On The Badge (1992)- * * *

Directed by: Bret McCormick

Starring: Joe Estevez, David Harrod, Todd A. Everett, and Rocky Patterson 

When a Libyan terrorist group called the Hand of God are running around killing politicians, detectives Neil Farrow (Harrod) and Bill Marshall (Everett) are on the case. Captain Burton (Estevez) is constantly demanding answers from them, and after Marshall ends up in a coma, Farrow goes rogue – and also goes to Texas – to find the perpetrators. While somewhat of a fish out of water in the small town of Morgan County, Texas, Farrow has a spirit guide – his comatose partner Marshall himself! Dressed in a white T-shirt and bathed in white light even though he’s not dead, he gives Farrow cryptic clues as to what to do next. Doubtlessly it’s because of this intervention that Farrow comes across local powermad good ol’ boy Milo Truscott (Patterson) and his gang of nogoodniks. After traveling to the local “survival camp” and being mercilessly mocked and ridiculed by the local doomsday preppers, Farrow decides enough is enough and takes the law into his own hands to unravel the mystery. But will there be BLOOD ON THE BADGE?


Shot the same year as Armed For Action (1992) and featuring almost the exact same cast and crew, Blood On The Badge is more low-budget, Texas-set, Joe Estevez-infused DTV wonderment. Out of the two, we prefer Armed For Action, mainly because that has a higher mullet-and-Gatling-gun ratio, but it’s probably a matter of taste.


David Harrod returns as the hunky Himbo hero. His favorite outfit is what appears to be a homemade New York Yankees T-shirt tucked into acid washed jeans with a black belt. When he’s not wearing that, he likes to lounge around in a towel, showing off his ultra-manly Woody Woodpecker tattoo. He’s so much of a Himbo, he makes Dan Cortese look like William F. Buckley. Naturally, the ladies can’t get enough of him, and that includes Monique Detraz of The Dangerous (1995) fame. While the movie as a whole suffers from pacing issues, Joe Estevez appears right on time.


Rocky Patterson also returns, along with everyone else, from Armed For Action. In that outing he strongly resembled Joe Piscopo. In this movie, he strongly resembles Greg Kinnear. The man is a true chameleon. While his name here is Truscott, it sounds like everyone is calling him “Triscuit”. Thankfully, this movie isn’t quite as dry as his namesake cracker. Speaking of which, Truscott is a racist bigot who spews racial slurs constantly. That and the sax on the soundtrack are the hallmarks of a type of film which is not made anymore. While in many respects, Blood on the Badge is a relic of its day, it is actually quite ahead of its time. The plot revolves around Islamic terrorists, and there is a subplot that involves the Israeli ambassador. They should re-release this back into theaters today.



While there are a healthy amount of funny lines and silly situations, the plot is slow going. There is a machine gun shootout in a warehouse, and even an exploding helicopter, so in that respect it’s pure AIP. It all ends on a classic freeze frame and under the closing credits are wedding pictures. You’ve gotta hand it to director McCormick and his band of regulars. It may be rough around the edges, but, darn it, he made these movies and released them into video stores. You can tell plenty of effort was put into making them as good as possible under very, very limiting circumstances. It’s probably important to keep that in mind while watching.


In the end, if you liked Armed For Action, or even One Man War (1990), and you appreciate that down-home style, you’ll more than likely enjoy Blood On the Badge. If not, you probably won’t, though it is just entertaining enough to satisfy VHS junkies who are familiar with this type of material.


Comeuppance Review by: Brett and Ty

Armed For Action (1992)

Armed For Action (1992)- * * *

Directed by: Bret McCormick

Starring: Joe Estevez, J.Scott Guy, David Harrod, Shane Boldin, Jack Gould, and Rocky Patterson

Alex (Guy) and his cousin Jake (Boldin) are two fun-loving cousins who are just livin’ their lives in the sleepy, rural town of Poolville, Texas. Because most of the town has vacated because it’s hunting season, the two good ol’ boys can feel free to indulge their passions of drinking, skirt-chasing, and gun collecting. The latter is going to come in very handy, however, as trouble comes to town in the form of a man named West (Estevez). West brings his underlings to Poolville because that’s where a mafia hitman named David Montel (Patterson) will be. He’s a prisoner being transported cross-country by a cop-with-an-attitude named Sgt. Phil Towers (Harrod). Once West and his goons start their onslaught in pursuit of Montel, the unlikely allies of Alex, Jake, Montel, Towers, and local barmaid Sarah (Murphy) all have to team up to fight them in a firefight to the finish. Luckily, they’re ARMED FOR ACTION…but so are the baddies! Who will be the saviors of Poolville, Texas?


Both Alex and Jake have awesome hair. They have to be cousins because awesome hair must run in their bloodline. Alex’s overgrown curly mullet is extremely impressive, though Phil Towers, the Zack Morris-esque policeman has great hair too, and he’s not related to the boys, as far as we know. Jake rivals him with his Cody-era Sasha Mitchell look.


Okay, now that that’s out of our system, let’s proceed. Armed For Action seems to be something of a “forgotten” movie, and one of the least-talked about AIP releases. Hopefully, this review will help to change that, as not only is it a more-than-respectable outing, it’s actually quite impressive what director McCormick and the gang were able to do with such a low budget. Despite some of the almost-prerequisite dumb moments and low-budget pitfalls, this tale of innocent locals caught in a city-versus-country crossfire is the type of movie Hollywood used to make – and still makes today but with an exponentially higher budget, if we just look at The Last Stand (2013). Even David Heavener tried his hand with something similar, Prime Target (1991). While we appreciated the movie’s lineage – it’s essentially an old-style Western – we could have done without the bathroom humor (a pet peeve of ours).

When you watch Armed For Action, you enter a rural world where the hometown bar appears to be someone’s house, the Sheriff (Gould) is the only law enforcement in town and he operates out of the General Store, and at the local restaurant you can get something called a smoked bologna sandwich. Strange as it is to say, 1992 was a simpler time, and when Joe Estevez (who puts in a pretty wild-eyed performance) and his goons show up, you care what happens to the townsfolk. AFA (as we call it) actually takes the time for character development, which we applaud wholeheartedly. So many movies of this type just skip that. For that reason alone, this small, modest movie is worth checking out.

And because Montel looks like Joe Piscopo. That would be our mafia hitman, not Montel Williams. Speaking of lookalikes, West’s main two goons look like Gary Busey and former British Prime Minister Tony Blair. There are a lot of other funny-looking goons as well, but those were our personal favorites. Would that the real guys appeared in an AIP movie together. Well, this is as close as we’ll get. We’ll take it. According to the credits, the weapons were by Weaponmasters, and the stunts were by Stuntmasters. Could they be the same people? The soundtrack was not done by The Beatmasters, but it was done by one Ron Di Iulio, who contributes some catchy countryfied guitar licks to the ensuing action odyssey.

Even though many people get shot and\or blown up, Armed For Action represents a filmmaking era that is almost quaint by today's standards. Efforts - and they truly were efforts - like this should be recognized. Thanks to AIP and now Amazon Prime, they can be.

Comeuppance Review by: Ty and Brett 

The Bounty Hunter (1990)

The Bounty Hunter (1990)- * *1\2

Directed by: Robert Ginty

Starring: Robert Ginty, Bo Hopkins, Melvin Holt, and Loeta Waterdown











Duke Evans (Ginty) is a Vietnam vet and ex-police officer who is now a tough-as-nails bounty hunter. He’s in a small Oklahoma town doing what he does best, which ends up putting him at odds with Sheriff Bennett (Hopkins). Evans’ ‘Nam buddy was murdered, and he suspects it is all part of a sinister plot to take land away from the local Indian population and sell it to an oil company for big profits. But he has to prove it first, and with the help of the slain man’s sister and brother (Waterdown and Holt, respectively), Evans attempts to get to the truth. But with the stubborn Sheriff and his army of sycophantic goons ever at the ready to take Evans down, will he be successful? Find out today...

We’re huge Robert Ginty fans, and The Bounty Hunter is a prime example of what Ginty can do when unleashed. This movie only increases his already-large status in our eyes - as star, director, and co-writer, he really gets a chance to shine here, and he indeed seizes the opportunity. 

Looking a lot like Renegades-era Kiefer Sutherland, Duke Evans (great name) is angry, surly, and the awesome level rises by the minute. This guy truly doesn’t take any guff - would you want it any other way? While his hair and ‘stache are in fine form in front of the camera, Ginty also displays talent behind it as well. There are some really interesting directorial touches; perhaps he felt he needed to prove himself in that department. We think he was successful.

While this is the Ginty you want - he pretty much took his character John Dee from the previous year’s Out On Bail (1989) and ran with it - the great Bo Hopkins gives him a run for his money as the baddie. This is classic, quality Hopkins. Yes, he’s playing yet another small-town sheriff (he even makes a Walking Tall reference at one point), but we’ve never seen Hopkins so animated. What he does in this movie is always interesting and worth watching. Maybe it was the fact that a fellow actor was directing him, but Hopkins seems to have been given free rein, with great results.

The whole Indian angle will put you in mind of the Thunder trilogy (let’s remember Bo Svenson was in the first two, not Bo Hopkins, however), as well as films like Johnny Firecloud (1975). The latter also reinforces the strong, pleasantly-70’s vibe of the whole outing. 

That being said, it’s funny how little has changed since ‘89-90: Characters talk about evil oil companies, “racist bullies” (not just bullies but RACIST bullies!), corruption that goes all the way to the top, among other hot-button issues. Interestingly, the term “Native American” is scarcely used, and the Indians refer to themselves as Indians. That probably wouldn’t happen today. Also, people in the small town play what can only be described as “confederate bingo”. (It’s pretty much regular bingo, but the ol’ Stars and Bars are prominently placed on flags and hats everywhere.)

The Bounty Hunter is not silly like a lot of other AIP movies. It has its own feel, and is well worth checking out. The Steve McClintock songs only reinforce the solid merits and virtues of the film. 

However, marring the otherwise-fine experience is an unsatisfying ending. That’s really the only blot on this effort, but it’s a pretty big blot. But that aside, it’s Ginty and Hopkins at their finest.

Comeuppance Review by: Brett and Ty 

The Firing Line (1988)

The Firing Line (1988)- * *

Directed by: Jun Gallardo

Starring: Reb Brown and Shannon Tweed, and Mike Monty














Mark Hardin (Reb) is a “military advisor”, or perhaps a commando, or perchance a mercenary, who travels to...wait for it...THE PHILIPPINES to use violence and force to tamp down a rebel insurgency against the government. After many blow-ups, explosions, bang-bangs and kabooms, he realizes the rebels have a cause worth fighting for, much like in Star Wars, and he joins up with them, bringing his considerable might and prowess with him. But that’s not all he brings along - spoiled city-dweller Sandra Spencer (Tweed) has been dragged into the fight as well. Will it be hard for Hardin to remain a hardliner to the cause...or will he and his newfound comrades be on THE FIRING LINE?

Much like how Saved By the Bell claimed in its commercials to be “too hot for prime time”, could The Firing Line be “too good for the gas station”? In the land of one dollar DVDs, the man with one eye is king. Or so we’ve been told. Realistically, though, The Firing Line is pretty much the definition of Jungle Slog. YET AGAIN we’re surrounded by leafy green Filipino foliage, guard towers fall, huts explode, many things blow up, and many machine guns fire. But where’s the love? It’s all just so standard and boring.

Rebbington Brown (we’re imagining that’s what it’s short for) holds the line (the firing line, heh heh...ugh) relatively well, even if it is a fairly subdued performance by his standards. That doesn’t stop some classic yelling/shooting that it must be in his contract to do - but he seems a little listless this time around. Sure, he has a mustache, but that’s about it. 

Even the Prerequisite Torture of the hero seems a bit blah. Shannon Tweed is once again the eye candy, but little else. She plays the classic “nagging woman” we’ve seen countless times before. She doesn’t even really provide any nudity. Her excuse for being there is that she’s selling sports equipment...in a war zone. We’ve heard of war games, but this is ridiculous.

Plenty of other Philippines-shot movie mainstays are here too, including fan favorite Mike Monty, who plays a guy named Rodriguez. But thanks to the way some dialogue is said/dubbed, we thought he was called “Courageous Rodriguez”, which would have been a lot more interesting, not to mention akin to Slowpoke Rodriguez and his cousin Speedy Gonzalez. He also takes on heavy fire in military combat not in a helmet, but with a baseball cap. I’ve never seen  someone so confident they won’t be shot in the head. It’s almost like he’s bragging.

Sure, seeing Reb Brown shoot missiles from a helicopter, snap some necks, and maybe blow up a few tanks sounds great on paper, but there’s not much actual MOVIE here to surround it. And Brown is just so mellow this time around, for the most part. Helmed by longtime Philippine director Jun Gallardo (who also was responsible for the hard-to-find SFX Retaliator), the fact that there’s nil character development does kind of put a damper on things. 

We’re pretty used to that approach, sadly, but we always hope the next one will rise above the rest. This one didn’t. All that being said, the fact that AIP released this in the early ‘90s proves that video stores of that era had a veritable feast of items to choose from. It doesn’t seem that many people chose this one, which makes sense.

Comeuppance Review by: Brett and Ty

Rapid Fire (1989)

Rapid Fire (1989)- * * *

Directed by: David A. Prior

Starring: Joe Spinell, Douglas Harter, Dawn Tanner, Ron Waldron, Michael Wayne, and Del Zamora











When the evil terrorist Mustapha Ahmed (Zamora) and his sidekick Eddy Williams (Wayne) escape military imprisonment and steal a high-tech, high-powered gun (See cover on the left), all hell breaks loose. Hansen (Spinell) calls in his best agent, a man named Mike Thompson (Waldron) to bring Ahmed and Williams to justice. 

Thompson initially balks at the assignment, but when he sees his chance to get revenge against Williams - who he served with in Vietnam (?) and who wronged him then - Thompson jumps at the chance. To complete his mission he teams up with Corie Parker (Tanner, whose only other credit is fellow AIP vehicle Center of the Web), a pretty government agent, as well as Pappy, a not-so-pretty mercenary with a larger than life personality and joie d’vivre. Will the three heroes rise to the occasion and stop the baddies? Find out today...

1989. Will the wonders birthed in that magical year never cease to issue forth? Here, the classic AIP team of David A. Prior, William Zipp and David Winters bring us Rapid Fire, not to be confused with Rapid Fire (1992). This Rapid Fire stars not Brandon Lee, but one Ron Waldron as Mike Thompson. Somehow, we can see the excitement on your faces. Waldron tries for Clint Eastwood in his speech and mannerisms, but comes off as a confused cross between David Heavener and Robert Hays (both no strangers to AIP, interestingly. Prior must have a type he’s looking for). 

He almost gets into a barfight in perhaps the same bar as seen in Hell on the Battleground (1989). Thompson has a truck named Rollin’ Thunder, and, as if that wasn’t enough, his license plate is “FLEX”. His vehicle contains a lot of text. But even with all that firepower, he can’t compare to Pappy.

Unquestionably, Douglas Harter as Pappy steals the movie. It obviously belongs to him. A longtime AIP mainstay, here he finally gets some time in the sun, and he clearly relishes it. Luckily, so does the audience. Pappy is a large, robust man who is bald but has a long beard. He’s usually wearing sunglasses and smokes cigars. His favorite activity is hanging out in his pool, drinking cans of Miller Lite while surrounded by bikini-clad babes. He has great taste in casualwear, and he doesn’t take life too seriously. Yet, he always gets the job done and you can depend on him. We really grew to love Pappy. There needs to be more people like him not just in movies, but in real life.

Countering the ebullience of Pappy, there is a sad undercurrent to Rapid Fire, as it was fan favorite Joe Spinell’s last movie. There are credits honoring his memory both before and after the film. Unlike Operation Warzone (1988), he does stand up here, so it’s not solely a sit-down role, thankfully. Spinell was a great talent and will surely be missed. He brought uniqueness, life, and interest to every role he played. It truly is a shame he left us before his time.

But back to the silliness at hand, the main baddie, Williams, resembles noted pervert and scumbag Anthony Weiner. At least towards the beginning of the movie. Somehow, after repeated flashbacks and paranoid dream sequences, he goes more towards the Heavener side of things, confusingly, just like our hero Mike Thompson. I guess the Heavener look was big back in ‘89.

As usual with AIP, it seems a lot of time and care went into the music. The great Steve McClintock handles it once again, and he delivers some radio-ready songs that were as good as any of the hits of the day. His “C’Mon (My Hometown)” out John Cougar Mellencamps John Cougar Mellencamp, and Bob Harvey’s “The Shack”, well...it out Bob Segers Bob Seger. The songs enrich the movie and ignore the low budget. Sure, there’s a lot of shooting, car stunts, Prerequisite Torture of the hero and whatnot, and even the heartbreaking passing  of Joe Spinell, but we can always go back to “My Hometown”. That seems to be the message, and it seems to fit.

Featuring a very bizarre, totally out-of-left-field denouement, Rapid Fire is more AIP madness you have to love and enjoy.

Comeuppance Review by: Brett and Ty 

Mankillers (1987)

Mankillers (1987)- * * *

Directed by: David A. Prior

Starring: William Zipp, Veronica Carothers, and Lynda Aldon












John Mickland (Zipp) is one very bad dude. He’s a drug runner, murderer, white slave trader/human trafficker, and will torture you with a chainsaw if he doesn’t like you. So, with that information in hand, CIA agent Rachael McKenna (Aldon) begins the hunt for Mickland. With only the logic of “women are more effective in the field”, she tells her superiors she needs a battalion of 12 women. She goes to the local prison and rounds up some babes, telling them if they help her on this dangerous mission, they will be freed. 

The women agree and begin an intense training regimen. When their training is cut short, the inexperienced women and their leader must face off against Mickland and his many minions with the odds stacked even further against them. Will they be the ultimate MANKILLERS? Find out today...

Once again, David Prior and AIP take a basic idea and draw it out to 90 minutes or so, with a rock-bottom budget, and manage to make it work. Sure, most of the plot, as it is, of Mankillers (AKA 12 Wild Women), is lifted from Hell Squad (1986), but no matter. The idea is now done up in true AIP style. People get shot. Cars get chased. Drug deals go wrong. People of both sexes have mullets. Of course, there’s a training montage to a Steve McClintock song, in this case, a number called “Freedom”. There’s another memorable tune, “Stand Tuff” by Jimmy Hammer. You know it’s the 80’s because they spelled it “Tuff”. Interestingly, Bainbridge Scott is in both Mankillers and Hell Squad. Coincidence?

Speaking of the 80’s, one of the major reasons to watch Mankillers is the hair, makeup, and outfits of the “12 Wild Women”, though most of the time they’re in some kind of quasi-military garb, though tarted up, of course. 

Technically it all counts as “sexploitation”, supposedly, though there is no sex or nudity. The violence is all pretty equal opportunity: women get beat up and killed, but they also beat people up and kill them. William Zipp chews the scenery - the cheap, cheap scenery (we mean that lovingly) - to shreds as Mickland, the most “boo-hiss” baddie to come down the pike in a long time. AIP mainstays Fritz Matthews, Sean Holton and, naturally, Ted Prior all worked behind the scenes in various capacities, reinforcing the family-style vibe of AIP productions. Even when Ted isn’t in the movie, he’ll still help out.

So while the movie is most notable for its bevy of babes, it should be noted that it also contains one of the few roles of the great American hero Craig Alan - Commander himself. So if you can’t get enough of that inimitable AIP style, feel free to give this “girl power” entry a watch.

Comeuppance Review by: Brett and Ty 

Born Killer (1990)

Born Killer (1990)- * * *

Directed by: Kimberley Casey

Starring: Ty Hardin, Fritz Matthews, James Tucker, Durrell Nelson, and Ted Prior










Spencer (Prior) and Anderson (Tucker) are two convicts breaking rocks in the hot sun as part of a prison chain gang. When Nick (Matthews), his buddy Trapper (Nelson), and a gaggle of their female friends get carried away with their paintball shenanigans, they accidentally drive into where the chain gang is. Spencer and Anderson see this as their chance to escape, so they do. Soon enough, the two criminal masterminds steal Nick and Trapper’s clothes, leaving the paintball enthusiasts with only prison duds to wear. 

This really sets off Nick’s ‘Nam flashbacks and he gears up for revenge. Meanwhile, Sheriff Stone (Hardin) is hot on the trail of the baddies - only he and his fellow law enforcement officers think Nick and Trapper are the culprits. As Spencer becomes more and more psychotic, and it’s getting harder and harder to tell which are paintball guns and which are real ones - this sets the stage for the final confrontation. Who is the real BORN KILLER? Find out today...

Here we have AIP’s entry into the then-popular PGW, or “Paintball Gone Wrong” sweepstakes. Director Kimberley Casey, who has served in various capacities on many AIP films, turns in a classic low-budget AIP entry. It helps if you know and already are a fan of that particular AIP style, but try to imagine a cross between a Hell on the Battleground (1989) or Jungle Assault (1989) crossed with the David Heavener vehicle Kill Crazy (1990), with a large helping of Fear (1988). It even starts out with some classic, Soultaker (1990)-style early ‘90s partiers driving. There’s a ton of shooting, usually ending up in that “blood mist” type of shot. Even though the plot is minimal, there still seems to be a bit of filler.

This is also one of those cases where the actors look like other people. Ted Prior really looks like Christian Bale here, and Matthews looks a lot like Roddy Piper, but the winner in the lookalike stakes is clearly Ty Hardin as Sheriff Stone, a dead ringer for Ted Turner. Are we really sure this isn’t Ted Turner under an assumed name? It’s amazing this movie never played on TNT. Or maybe CNN. Okay, maybe it’s not, but at any moment you think the proceedings will stop so he can get married to Jane Fonda and eat a “beefalo” sandwich. 

Even the songs resemble others - as much as we love Steve McClintock’s music, he is very adept at soundalikes, and here he turns in a very Bryan Adams-esque number with “Keep this Motor Runnin’”. Of course, there’s a montage to the music, whether it makes sense to do so or not.

It’s also nice to see Ted Prior as a baddie, and he takes full advantage of the opportunity with a twitchy, eye-rolling performance. And because the characters are playing “paint games”, as they’re called here, presumably that justifies the fact that for the last third of the movie, everyone is shirtless and covered in red paint.

Once you get into the AIP spirit, you’ll see that Born Killer is just entertaining enough for that sort of style.

Comeuppance Review by: Brett and Ty 

Robo-Chic (1990)

Robo-Chic (1990)- * 

Directed by: Ed Hansen and Jeffrey Mandel

Starring: Kathy Shower, Jennifer Daly, Burt Ward, and Kip King

When self-consciously "wacky" scientist Dr. Von Colon (King) creates a beautiful cyborg called ROBO-C.H.I.C. (Shower and Daly), he believes he has created the invention of the century. When she beats up some punks in an alley, the doctor realizes she can be used to fight crime. Meanwhile, a nebbish named Harry Truman Hodgkins (Ward) has claimed in the media that he has positioned a series of bombs and is going to set them off one by one. So ROBO-C.H.I.C. has to try and stop him, and meanwhile a criminal organization led by a guy named Quentin (???), as well as some bikers, are trying to stop ROBO-C.H.I.C. from depopulating their respective criminal organizations. Will you make it through to the end to see what happens?

It's hard to tell who the intended audience for ROBO-C.H.I.C. is supposed to be. Just to be absolutely clear, this is not an action movie. AIP never should have released it. It's an insufferably unfunny so-called comedy, and why the filmmakers thought the predictable, hacky jokes would hit home with any audience remains frustratingly unclear. 

Imagine if the production staff of 80's sitcom Small Wonder attempted to make Robocop (1987). And it's even less funny than that would probably be. Of course, from today's perspective, the idea of a bomber who wants to slaughter thousands of people using homemade explosive devices doesn't scream out as being a rich vein for hearty comedic laughs. And the character was played by TV's Robin, Burt Ward, so he now has this embarrassment on his resume. Too bad he didn't follow the example of his pal Adam West, and appear in high quality productions in the 80's like Night of the Kickfighters (1988) and Omega Cop (1990) (cough!).

ROBO-C.H.I.C. is completely in keeping with our theory that bad movies are long movies. This whole annoying exercise in patience lasts an agonizing 102 minutes, and is irritating right up until the final second, just like an awful old vaudeville comedian that has to get the hook because he doesn't know when to get off the stage. 

Just like the old hokey comedian who is blatantly desperate for cheap laughs, ROBO-C.H.I.C. comes from that very same DNA of those old performers. 102 minutes. Inexcusable. 80 would have been pushing it for what would have been an intolerable 8-minute Saturday Night Live sketch. Or is that redundant? Regardless, the super-slow pacing, if it even deserves to be called pacing (calling it that would imply there is a pace, or at least one that anyone thought about), is the heart of the problem. It all moves at a torturous crawl. WHY is it so slow and long? Seriously! We demand answers!

Another of our theories that this dreck is consistent with is the "two directors (or more)" theory. Not good. Even Kathy Shower, who is credited as a producer on the project, bailed, to be replaced in various scenes with one Jennifer Daly.  One of the directors is Jeff Mandel, the writer/director of all-time AIP classic, Elves (1989), released the same year as ROBO-C.H.I.C. Talk about a schizophrenic career. He also wrote AIP entry Firehead (1991). In other behind the scenes news, the guy who played Dr. Von Colon is Chris Kattan's father. It must be genetic. 

This movie is so painfully bad, it will make you long for the subtle, biting, incisive comedy of Mango. And no amount of nudity can paste over the flaws of this turkey. But characters do smoke indoors and wear fanny packs, and you get to see the old Dunkin Donuts logo, so there's a bit of nostalgia there. But it's not nearly enough to recommend this crud. If you want to see a much better movie with a similar idea, check out Steel and Lace (1991).

On top of the humorlessness and snail's pace, the movie doesn't even seem to care whether it's good or not. The audience feels jerked around by a bunch of people who can't even put in any effort to care to make a halfway decent production. ROBO-C.H.I.C. is just so, so lame. Never see it.

Comeuppance Review by: Brett and Ty