Snow Kill (1990)

Snow Kill (1990)- * *

Directed by: Thomas J. Wright

Starring: Joey Travolta, Jon Cypher, Patty D'Arbanville, David Dukes, Terence Knox, Clayton Rohner, Lee Arenberg, and Branscombe Richmond

Forced to go on one of those annoying "corporate retreats" by their boss, Reid (Cypher), a small group of young professionals - who include Myles (Travolta), Lauren (D'Arbanville), and Dennis (Rohner) - head out to the snowy Cascades in Utah. While they all innocently think they're going to do some snow stuff and then go home, they get a rude awakening when a gang of baddies come upon them. The leader is Murdoch (Dukes), and his partners in crime are Loomis (Richmond) and Kolt (Arenberg). Murdoch just wants to get his backpack full of cocaine and head back into civilization. But the presence of the heroic Clayton Thorpe (Knox) puts a crimp in their evil plans. Soon, it's a battle of the corporate raiders versus the actual raiders. Who will come out alive - and who will be a victim of a SNOW KILL?


In the grand (?) tradition of White Fury (1989) and Icebreaker (2000) comes Snow Kill - the TV Movie version of the snowbound action/survival movie. With elements of like-minded efforts like Fear (1988) and Damned River (1989), this doesn't offer much of anything different, except for a few silly moments. But the silliness is few and far between, and it's not terribly interesting or exciting either. It doesn't go far enough in any one direction. Consequently, it's not all that memorable.


Because there are only traces of silly, and the pace is slack, the audience is left wanting more. If Snow Kill had been 80 minutes and had excitement and energy, we could be looking at a minor classic. Unfortunately, that was too much to ask for this middle-of-the-road effort.


If you tell anyone you're going to watch Snow Kill with David Dukes, make sure you avoid any confusion and really impress upon them the fact that it's Dukes with an S. His performance as the mustachioed baddie is one of the better aspects of the film. Terence Knox is certainly wooden here as the savior in white (remember again that it's David DUKES as the baddie). This is no Tripwire (1989), that's for sure.


The boss, Reid, looks a lot like Lloyd Bridges, and the whole thing is like Extreme Ops (2002), but featuring an older demographic. Joey Travolta is his classic wacky self, and he had already appeared in a film with similar subject matter (but done much better), Hunter's Blood (1986). He must like getting out in the wilderness.


One of the rare movie highlights appears when our group of protagonists first gets out of the office and out in the snow. They're all wearing snowsuits of one color (i.e. D'Arbanville has a pink one, the others have green, red, and blue ones, etc.) it's like Power Rangers. But without the power. Or the ranging.


Director Thomas J. Wright has worked almost exclusively in TV throughout his career, which might explain why his name is not that well known to the general moviegoing populace. One of his few forays into cinematic territory is the all-time classic No Holds Barred (1989). Hey, if you're going to make one theatrical film, make it a good one. If only more of the vibe of No Holds Barred could have been present in Snow Kill, made only the following year. Oh well.


You won't exactly be on the edge of the seat of your ski gondola, but perhaps Snow Kill might be a one-time watch for TV Movie enthusiasts or those looking for something just silly enough to be mildly - very mildly - entertained.

Comeuppance Review by: Brett and Ty
 

Car Crash (1981)

 

Car Crash (1981)- * * *

 Directed by: Antonio Margheriti 

 Starring: Joey Travolta, Vittorio Mezzogiorno, Ana Obregon, Ricardio Palacios, and John Steiner

Paul Little (Travolta) is a stock car racer, and his best buddy Nick (Mezzogiorno) is his mechanic. The two men live to race, and they don't cheat, which really hacks off mobster Eli Wronsky (Palacios) who didn't want them to win a rigged race. After drawing the ire of the gangsters, Paul and Nick travel to Acapulco so they can be part of a new race called 'The Imperial Crash'. Along their journey they meet Janice Johnson (Obregon), an antiques dealer, and sparks fly between her and Paul. When the three of them go to the mansion of the wealthy Kirby (Steiner) and his snooty butler Gershwin, more chaos ensues before they can get to the final race. But Kirby's friendship will prove invaluable later on. Will the gangster baddies rub out Paul and Nick before they can even get to The Imperial Crash? Or, while they're in sunny Mexico, will there be - to quote Atomic Swing - a CAR CRASH in the blue? Find out today!



Antonio Margheriti has always been among our favorite directors, and Car Crash seems to be one of his lesser-seen works. Despite the cult status of Margheriti, the presence of Joey Travolta, and the fact that it was a Italian-Spanish-Mexican co-production which ensured a worldwide release, it appears as though the only way to see it in the U.S. is the Sony VHS.

While there are some scenes of light shooting and beat-ups, there are plenty of blow-ups and, of course, car races and crashes. Over almost 100 minutes, the film does slow down at times, but the camaraderie between Paul and Nick is good, and some drama is needed because it can't be all cars all the time.



One of the best things about Car Crash is the music by Mario and Giosy Capuano. It's really tremendous stuff and it helps keep the movie afloat. It ranges from hard-driving rock to synth to folk cues, and it's a treat for the ears. They were an interesting choice to provide the music, because it appears that this is their one and only soundtrack. It should come out on CD or vinyl, stat. I would say reissued, but it appears it has never been issued in the first place, which is a shame. I think a lot of people would buy it. It would be perfect for a company like Digitmovies.



Of course, it was 1981, and one of the first scenes takes place in an arcade with plenty of pinball machines and stand-up games. But, moving on from that highlight, much has been made of Margheriti's use of miniatures during some of the racing scenes. Far from a negative, it comes off as delightfully charming as far as we're concerned. If they had called the movie "Hot Wheels" it would have been entirely appropriate. Of course, Margheriti used plenty of "fast motion" to give the feeling of more speed, which gives things an old-timey "Keystone Kops" feeling which may or may not have been intentional.



John Steiner does an atypical role as the foppish Kirby, and his butler Gershwin is annoying so it's great when Nick finally punches him in the face. Nick also has some great insults, calling people "Jerk Brain", also, and we quote, "Your mother eats moose meat!" Obviously Nick was quite ahead of his time, as these two insults together were clearly the precursor to Judd Nelson in Conflict of Interest (1993) and his immortal "Jerk Beef".



Naturally, it all comes to a head at The Imperial Crash, which seems like it would be a good band name. Car Crash is decently entertaining most of the time, and would have been perfect for the waning days of drive-in theaters. Hopefully it'll get a physical release in a digital format so more people can see it and re-evaluate it, or just evaluate it for the first time.

Comeuppance Review by: Brett and Ty

To The Limit (1995)

To The Limit (1995)- * *1\2

Directed by: Raymond Martino

Starring: Anna Nicole Smith, Joey Travolta, John Aprea, David Proval, Jack Bannon, Gino Dentie, Floyd Levine, Branscombe Richmond, and Michael Nouri















When a baddie named Arthur Jameson (Bannon), who is so evil he has the ability to blow up helicopters using nothing more than a CD-ROM flight simulator, crosses the wrong woman, Colette Dubois (Smith), all hell breaks loose. In order to avenge the death of her husband, China Smith (Nouri, presumably no relation to Anna Nicole), it turns out Colette must team up with Vietnam vet Frank Davinci (Travolta). While Davinci has enemies of his own, he also has a support system of fellow goombahs such as Elvis (Dentie), Don Williams (Richmond), and Father Rich (Levine). As an ex-CIA agent, Colette has skills of her own. Will the unholy marriage of mobsters and disgruntled ex-government officials prove too much of a challenge for Frank and Colette? Or will your patience be tested…TO THE LIMIT?



While watching To The Limit, you can practically hear the sound of whirring VHS tape as guys who were in their teens and twenties in the 90’s fast-forwarded to get to the Anna Nicole Smith nudity. However, as this is a PM-produced action movie, we tried to keep the action elements in mind, and there are plenty of gunfights, blow-ups (including not one, but two helicopters), and PM’s time-honored car flip/blow-up that has become so near and dear to our hearts over the years. PM had a pip of an exploitable element in Smith; sometimes, in our nation’s darkest days, Joey Travolta alone isn’t enough to get a potential renter to pull a movie off of a video store shelf. 



You have to remember it was the go-go 90’s, and renting To The Limit carried with it less embarrassment than renting a Playboy video (though that’s debatable). Interestingly enough, this is a sequel to Davinci’s War (1993), of all things. Anna Nicole’s PM follow-up, Skyscraper (1996), came the next year. A lot of the same cast and crew of Davinci’s War came back for this particular outing, and it’s easy to hear a variation of this phrase being said during a pre-production meeting: “we’ll produce your film if you put Anna Nicole Smith in it”. That may be just one of the reasons why this movie makes no sense in the plot department and is pretty much a jumble from start to finish. But it matters not – we would say that you would have to watch Davinci’s War or Skyscraper first or this movie would make no sense, but the fact is that it makes no sense whether you see those movies first or not.

Though it must be noted that Davinci has a Vietnam flashback where he runs from an explosion in slow motion, and it also must be noted that in the scenes where she wears a brunette wig, Anna Nicole looks alarmingly like Monica Lewinsky. In most of these scenes, she’s talking to Travolta, who looks like George Carlin. At least they have similar hair. Travolta and Carlin I mean. So if you’ve ever wanted to see what it looks like for Monica Lewinsky and George Carlin to have a conversation, now’s your chance. There’s also a guy named Philly Bambino in the movie (Aprea). They couldn’t even get Vanity to reprise her role of Lupe.

Of course, To The Limit makes no sense as a mishmash of Davinci’s War sequel/Playboy video/PM action movie, but you knew that going in, didn’t you? Finding a VHS tape like To The Limit at your local video store was all part of the fun of that era. Thanks to Amazon Prime (as of this writing), you can relive it.

Comeuppance Review by: Ty and Brett 

No Escape, No Return (1993)

No Escape, No Return (1993)- * * *1\2

Directed by: Charles T. Kanganis

Starring: Maxwell Caulfield, Dustin Nguyen, Denise Loveday, Joey Travolta, Real Andrews, Pamela Dixon, Robert Miano, John Saxon, and Michael Nouri










Police officers William Sloan (Caulfield), Tommy Cuff (Nguyen), and Ali Weston (Loveday) are more than just your average cops. They grew up together, trained together, and graduated the academy together, all at the top of their class, with their own individual specialties. They have a strong bond, and that bond will be tested to the limits when a corrupt DEA agent, Dante (Nouri) tries to set them on a path to their ultimate ruin. 

When another official, Mitchell (Saxon) comes in to investigate, he realizes something fishy is going on. Dante, against the warnings of their Captain, Stark (Travolta), made them a special team to investigate drug runners, setting them up for a fall. While each member of the team has their own personal demons to confront, will they be able to outsmart and out-shoot the bureaucratic forces lined up against them? Much like a busy day at the Stop & Shop bottle return room, will it be NO ESCAPE NO RETURN?

PM’s batting average remains high with this very enjoyable and entertaining outing. It’s gems like this that made going to the video store fun - trying new titles, never knowing what to expect, and sometimes finding a winner. Items like No Escape No Return kept the odds in your favor.  

We appreciate that. NENR (don’t kids tease each other by saying “neener neener neener”?) was essentially the culmination of writer/director Charles Kanganis’s time at PM. It does appear to be the end of his education and evolution there, as he seems to put all he’s learned onto the screen, with winning results. Coming hot on the heels of his Traci Lords diptych, A Time To Die (1991) and Intent to Kill (1992), here Kanganis goes full-throated action and makes no apologies for it. There’s a ton of action, the stuntwork is top-notch, the movie is shot and directed well so you can see all of what’s going on, there are shootings, high-quality blow-ups, and beat-ups constantly, and two of our favorite settings for action are, of course, here: the disco and the bar. The disco scene features some very cool slo-mo and the bar, of course, is the place for the time-honored barfight (which, in classic form, is instigated by some racial slurs that you would never hear today in our stranglingly PC world).

 As if all that wasn’t enough, we have a stellar cast of familiar faces to keep the whole ship buoyant. Dustin Nguyen’s “back’s against the wall” once again, as it was in 21 Jump Street, and it’s hard to find a cooler moment in our recent memory than him, dressed in a black leather jacket, with fingerless gloves, and shades, holding double handguns and he takes down the bad guys. 

Fan favorite John Saxon resembles Rudy Giuliani, Joey Travolta resembles...I mean, does his part (mainly delivering exposition) quite well, and Michael Nouri looks like he’s gotten a haircut. Even mainstays Robert Miano and Real Andrews get in on the fun. And we’ve gained a new respect for Maxwell Caulfield. Far from being just a cross between Jeff Fahey and C. Thomas Howell, his performance is also cool and great.

For PM fans, this movie will certainly put you in mind of Maximum Force (1992) - but NENR has a unique character all its own. Maybe that’s because Kanganis places emphasis on character development - there’s more of it in the first five minutes of this movie than a lot of other action movies combined. So you always care about these people and what happens to them. If that wasn’t the case, all the car-flipping-over-in-the-middle-of-the-street-and-blowing-up stunts wouldn’t mean a thing. So, we applaud all involved with No Escape No Return (not to be confused with No Retreat, No Surrender) - it delivers the goods.

Comeuppance Review by: Ty and Brett 

Da Vinci's War (1993)

Da Vinci's War (1993)- * *

Directed by: Raymond Martino

Starring: Joey Travolta, James Russo, Vanity, Richard Foronjy, Branscombe Richmond, Melissa Moore, Harold Joseph Green, Sam Jones, and Michael Nouri












When his sister is violently murdered by arch-baddie Mintz (Russo), Frank Da Vinci (Travolta) wants revenge. Da Vinci, a highly-decorated Vietnam vet, wants to leave his past behind him and move on with his life, getting involved with his local mission, and forging a relationship with the religious Lupe (Vanity), who cares for his young niece when he's not around. 

But Da Vinci is also still in touch with his 'Nam buddies, who all have too-appropriate nicknames such as the Shakespeare-quoting Hamlet (Foronjy), the guy in the wheelchair named Wheels (Green), and the guy of unimportant Asian origin that may or may not be Hawaiian, Don Ho (Richmond), among others. But even Da Vinci's ever-loyal charges aren't enough to get to the bottom of the murder of his beloved sibling, so he enlists the help of hired killer China Smith (Nouri). 

At first Smith doesn't want to be bothered with Da Vinci and would rather concentrate on his girlfriend, mysteriously named Fred (Moore). But after inexplicably talking to his computer (the computer never responds), he gets some info on Da Vinci that changes his mind, and he enlists in DA VINCI'S WAR. But will there be victory or defeat?

 The original Da Vinci code, this is pretty much an Italian-American variant on Gordon's War (1973), right down to the title. But this particular War is about as "Direct To Video" as it gets in its look and feel. Around these parts, however, that's not considered a negative, but other people might want to be forewarned about the low-budget vibe. 

Director Martino is a largely un-talked about figure in the DTV world, having worked a lot with City Lights/PM and been involved with their Anna Nicole Smithsploitation in the 90's. He obviously spent his budget on the stellar B-movie cast, which besides the aforementioned names also features fan favorite Sam Jones, as well as Bob Golic and a whole bunch of Travoltas, such as Rachel, Nicole, and Sam (the latter behind the camera, along with Addison Randall).

 Joey, quite possibly the most talented Travolta to date, is initially unrecognizable with his facial hair. But once he utters the immortal line “Aw Geez!”(in a surprisingly dramatic reading of that Travolta-ism) we know it can only be him. In other cast news, there’s also Gino Dentie, who released the “Direct Disco” album in the 70’s, and who also collaborated on the song “Da Vinci’s March” with Branscombe Richmond. So there’s more than enough on-screen talent, but it doesn’t entirely translate into a wholly enjoyable and completely cohesive final product.

What’s good about Da Vinci’s War is that it is from a time before Tarantino knockoffs polluted the market. And that both James Russo and Joey Travolta, at different points, walk in slow motion, thus looking cool. Plus Michael Nouri gets a great intro to his character. 

What’s bad about Da Vinci’s War is that it falls prey to the typical low budget pitfalls: stodgy acting, a stiff feel, and low-energy valleys that we as viewers have to go through. Not to say that there aren’t a few okay moments (not to mention some unintentionally funny moments), but the balance isn’t always in the movie’s favor.

While the epilogue after the movie states that it is dedicated to all the homeless veterans, the sentiment is undercut somewhat due to the fact that on a banner over all the vets, they misspelled the word “homeless”! If they’re trying to get our sympathy by informing us of the “homless” vets, they should run their banner through spell check. Unless the point is to announce their lack of hom. Or maybe they’re going the route of little moppets selling lemonade with a sign with a few backwards letters in order to draw us in. Our vets deserve better than that. But the banner is over what can only be described as a shuffling “Homeless Veteran’s Choir” and they all sing, led by Vanity of course. So that must be a movie first.

In the end, Da Vinci’s War sports a never-to-be-replicated cast assemblage, but it lacks the forceful punch it could have had.

Comeuppance Review by: Brett and Ty 

Hunter's Blood (1986)

Hunter's Blood (1986)-* * *

Directed by: Robert C. Hughes

Starring: Sam Bottoms, Kim Delaney, Ken Swofford, Mayf Nutter, Lee De Broux, Joey Travolta, Clu Gulager, Billy Drago, Mickey Jones, and Billy Bob Thornton











Five men decide to go on a hunting trip in the backwoods of Arkansas: David (Bottoms), his father Mason (Gulager), Uncle Al (Swofford), their buddy Ralph (Nutter) and die-hard “city boy” and hunting newbie Marty (Travolta). Things seem to be going well, until they run afoul of some murderous “rednecks” who feel these city folk have intruded upon not just their land, but their illegal meat processing operation. So now it’s a deadly game of hide and go seek with David, Mason, Al, Marty and Ralph versus their rural counterparts Snake (Drago) Wash Pot (Jones), Red Beard (De Broux), and Billy Bob (Thornton of all people). When the baddies kidnap David’s girlfriend Melanie (Delaney), it’s an all-out war for survival. Who will come out on top?

In the 80’s, Deliverance (1972) knockoffs and Wilderness Horror movies were huge in video stores. So it would be the most natural thing in the world to combine them. Hence, Hunter’s Blood was born. It was co-written by the writer/director of 9 Deaths of the Ninja (1985), Emmett Alston, and released in a very bright, clean-looking VHS by Embassy. It would make a nice double feature with Rituals (1977), if you can get a hold of both.

When the movie opens, the music on the soundtrack is a guy playing/bending ONE NOTE on the guitar, over and over again. Could this be a sign that the movie itself is a one-note? But then we get to know the protagonists of the piece, the only really likable one being David, portrayed by Sam Bottoms of Ragin’ Cajun (1991) fame. He does a decent enough job, but there are so many characters he doesn’t get enough time to shine. Then the “male bonding” occurs, and it seems like a 90-minute Jack Links commercial, and the fact that all the men sit around a fire and eat a pepperoni stick only reinforces that. There’s a ton of inane potty humor/dialogue, a lot of which underlines the Deliverance-style homosexual nature of the proceedings. In fact, at times Hunter’s Blood seems to aim to out-gay Deliverance. It was the 80’s after all, they probably figured they had to ramp up the gay from the way it was in the 70’s.

But once the plot kicks into high gear, there are a lot of nice surprises and worthwhile moments to raise Hunter’s Blood above the pack. And let’s not forget Joey Travolta is on board. A great moment comes when he guilelessly blurts out the line “I love TV!” Not any one particular show, just TV. There are plenty of country tunes that continually appear throughout the film, and the first credit after the movie ends shows this (seemingly a rarity), but the credit only lasts on-screen for about a fraction of a second. But we were able to determine the songs on the soundtrack are by Hamilton, Joe Frank and Weber. We can only assume this is the same group that sang the great song “Don’t Pull Your Love”, but that was Hamilton, Joe Frank and Reynolds. Either Reynolds was replaced by Weber, or, mirroring the “Deliverance knockoff” scenario, there’s a “band knockoff” going on. Either way, no song herein is as good as “Don’t Pull Your Love”.

In the end, Hunter’s Blood is solid entertainment, especially if you are a fan of survival-type movies.

Comeuppance Review by: Ty and Brett

Night Of The Wilding (1990)

Night Of The Wilding (1990)-* *

Directed by: Joseph Merhi

Starring: Erik Estrada, Joey Travolta, Kathrin Middleton, Isaac Allen, Kimberly Spiess, Joe Verroca, Charlie Ganis, Pamela Dixon, Robert Dickey, and Raymond Martino

PM goes for something different here, taking a break from out-and-out action movies and delivering a courtroom drama inspired by the then-new show, Law & Order.

Joseph Gainer (Estrada) is a high-powered Beverly Hills defense attorney who has never lost a case. Constantly defending scumbags and releasing them back out into society seems to be getting under his skin, however. Three teenage psychopaths, led by Carl Sloan (Allan) - the other two being the token “weak link” who has somewhat of a conscience about their evil deeds, Alan (Dickey) and Carl’s right-hand man, Martin (Ganis) break into a house and assault and rape Betty Truesky (Austin) and Doris (Kimberly Spiess, better known to adult film fans as Carol Cummings). They also attack another member of the family, a man named Bill Paxton! (Verroca, sadly not Bill Paxton). Gainer ends up as one of the lawyers defending the little jerks, and the prosecutor is his former wife Marion (Kathrin Lautner AKA Middleton). They still have a rapport, and issues of law and justice are continually coming up. What will be the fate of Betty, Doris, Carl, Martin, Alan, Joseph and Marion?

Like the aforementioned Law & Order, PM and director Joseph Merhi do a “ripped from the headlines” type of story about the incidents of “Wilding” in the late 80’s/early 90’s. The title “Night of the Wilding” is somewhat misleading for a courtroom movie like this. It’s not exactly in the same league as Night of the Kickfighters (1988). Plus, is a home invasion /attack really wilding? No one is sure exactly what “wilding” is, but we’re pretty sure it’s out in public. Not in private. This movie brings up questions like that. Can you “wild” in the privacy of your own home?

Estrada, who is perfect for a role like this, does reasonably well. Some of his clothing, especially his out-of-the-courtroom casual wear, is quite something. Sure, he has a mullet, but you know he’s one of the good guys because the evildoers have longer, eviller mullets.  It’s weird - at times the film seems to go as close to an authentic legal drama as it can - and other times what happens plot-wise is utterly absurd.  Add some odd clarinet music on the soundtrack, and Joey Travolta for some reason, and the result is Night of the Wilding. For more Joey\Wilding action see: Wilding: The Children Of Violence (1991).

The obvious highlight of the film occurs right towards the end and involves a  baseball field. That’s all we’ll say. Watch out for it.

While not what you’d call a classic or a typical PM, we give them points for not simply churning out another blow-em-up movie, but we’re not sure this more dramatic approach reached its target audience. After all, PM makes the BEST blow-em-ups, and that’s what fans want. It’s nothing to be ashamed of. Fans of TV-movie style courtroom dramas probably never found this movie in the first place, while PM aficionados (I assume they’re out there) more than likely won’t be adding this to their top 10 list of favorite PM’s.

While there is some clunkiness, especially in the acting department, Night of the Wilding is really not that bad (especially considering some of the unintentional laughs), but don’t go in expecting fireworks.

Comeuppance Review by: Brett and Ty

Wilding: The Children Of Violence (1991)

Wilding: The Children Of Violence (1991)-* * *

Directed by: Eric Louzil

Starring: Wings Hauser, Joey Travolta, Steven Cooke, Karen Russell, Derek Anunciation, Kelly Curtis, Chris McCloud, and David Crane







 

Parsons (Hauser) and Peters (Travolta) are cops on the beat trying to get to the bottom of a rape/murder case. Parsons is the more hardline dude (sporting some cool sunglasses) and Peters is the cop with a soft spot. As it turns out, the victims were subject to rampant wilding - presumably a group of kids going nuts. But it went too far. Tommy Baldwin (Steven Cooke) is a high school student who is leading a double life as an amoral wilding leader. He is egged on by his second-in-command Jason (Anunciation). Perhaps only the power of family, as represented by Tommy’s father and brother (Chris McCleod and David Crane) can save Tommy. Or will it be something else?

Not to be confused with Night of the Wilding (1990), here we have ANOTHER wilding movie. And the amazing part is - Joey Travolta is in both! Surely this must be a movie first. There are only two movies about wilding that we know of, and Joey is there whichever way you turn. How did this happen? Did he specifically request to his agent that he only wants to star in movies about wilding? Or is it purely a coincidence? Nevertheless, Joey is at his best here. It must have been a challenge to hold your own against co-star Wings Hauser, but Joey just about upstages him.

In the late 80’s/early 90’s, wilding must have been a topic that was on everyone’s minds, and AIP wasn’t about to let the opportunity slip away. Sure, there is some mild social commentary within, but some of the acting/non-acting is hilarious and there are two huge laugh-out-loud moments as well. We won’t spoil them for you here. Also, Tommy’s father looks like Dick Butkus and wears some great outfits (everyone in this movie has great outfits). The character of Jason, who is supposedly so evil, looks like a 10-year old dork. He resembles a cross between Lou Diamond Phillips and Alfred E. Newman.

As for the wilding, it mainly seems to consist of kids watching cars race dune buggies. And one kid in the crowd is juggling. Yep, that’s how you know these kids are up to no good. “They know how to juggle, let’s get out of here!” Other indications that these teens are rebels are the posters and T-shirts they have. Guns n’ Roses, Iron Maiden, Ozzy Osbourne, The Ramones, The Clash, Sex Pistols and even Mentors merchandise can be seen. If they’re “punk” or “metal” you know they are on the outskirts of society. The influence of the movie Suburbia (1983) comes through here (and elsewhere). This is best exemplified when Tommy’s brother, perhaps the ultimate preppy, goes to their lair and conflict ensues.

Adding to the overall vibe of fun, low-budget silliness is the fact that there is a montage of highlights from the movie during the opening credits. You don’t see this too often, mainly because filmmakers probably don’t want to spoil any potential surprises. But not director Eric Louzil (best known for his Troma work).

Also it should be noted that Wilding is filled with great music, highlighted by the title song, “Don’t Try to Stop Tomorrow” by Tiziana Rivale. This Pat Benatar-like tune will be stuck in your head for days.

A lot of fun, see this movie if you get the chance to. Of all the wilding movies, this one stands head and shoulders above the other one.

Comeuppance Review by: Ty and Brett

Check out the trailer!

Final Move (2005)

Final Move (2005) -*1\2

Directed By: Joey Travolta

Starring: Matt Schulze, Lochlyn Munro, Amanda Detmer, David Carradine, Daniel Baldwin and Rachel Hunter










Final Move is a disappointment, especially considering the B-movie cast and director. I have very low standards when it comes to flicks like these.

The plot is: The chess piece killer is at it again. After his last victim, he is caught and sentenced to death. After his execution, the killings don't stop. Which is weird for detective Marlowe (Schulze) who has psychic vision. He teams up with Roman Krieg (Munro) to stop the madness.

Final Move tries hard (too hard) to be a slick mystery-thriller. The opening credits are snazzy, but the opening scene is downright horrible: after the killer murders some woman, he takes off his mask and starts laughing for about ten minutes. You'll see.



David Carradine and Daniel Baldwin don't have a lot of screen time despite their faces on the cover. Schulze is alright, but his best role is in The Transporter (2002) . The explosion near the end is faker than Milli Vanilli's Grammy Award-winning performances. 

Comeuppance Review by: Ty