Category Archives: Movies with Nudity

Ladies and Gentleman, The Fabulous Stains (1982)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Teen forms punk band.

Corinne (Diane Lane) is an angry 17-year-old who lashes out at a TV-reporter during an interview when she describes the challenges of trying to make-ends-meet while working at a fast food place after the death of her mother. Her tirade resonates with other teens and this new found celebrity gives her the idea to form her own punk band called The Stains.  She goes on tour with two other bands and makes a splash by going out on stage wearing a wild skunk-like hair-do and a see-through blouse. This gets her media attention and a fan following, but will her new found fame last, or will it just go to her head?

This interesting look at the punk band scene, that could make a great companion piece to The Decline of Western Civilization, was filmed in a sardonically humorous pseudo-documentary style, but unfortunately did not fare well when it was initially released. After getting a bad response when it was first shown in Denver in October of 1982 the studio shelved the film for 2 years,inserted a new tacked-on ending and then sold it to the USA Network where it became a staple to their weekend, overnight programming and quickly garnered a cult following.

The film still does not get as much attention as I think it deserves and tends to get overshadowed by the overrated This is Spinal Tap. This film though is a lot grittier and that fact that it was directed by Lou Adler, who worked for many decades in the music business, helps give it an authentic appeal as it analyzes the underside of the music business by showing how the majority of bands live on society’s fringe while excising the glitz and glamour completely. It also astutely examines the inner-conflicts and raging egos that go on behind-the-scenes and how the almost constant back-stabbing infects the mind-set of those trying to break-in.

The script was written by Nancy Dowd who is best known or penning Slap Shot and this film works in much the same way as that one by placing it in a similar setting of an economically strapped, working class Pennsylvania town. The shots of the gray, rundown region is what really gives this film an extra edge and helps the viewer identify with why the characters will do almost anything to get out of it. One of the best shots comes while watching Corinne walking around outside as she makes plans for her band while in the backdrop we see the grimy steel mill life that she’s grown-up in and hitting-home how her dreams for her punk band isn’t based so much on rebellion, but more on hoped for escape.

I loved Lane’s acerbic personality and her hilariously caustic opening interview with a TV-reporter really sets the tone for the rest of the film while also helping to solidify that this isn’t going to be just another mainstream Hollywood flick like Almost Famous, which I felt painted rock band life in too much of a sugar coated way, but instead something with a real attitude. In fact I was disappointed that Lane’s salty sarcasm wasn’t played-up even more as it’s funny and on-target and made it easy to see how her character was able to galvanize such a mass following.

On the slight downside I felt her relationship with her two band-mates (Marin Kanter, Laura Dern) with one of them being her sister and the other her cousin got underplayed. The irony is that Dern sued her mother, actress Diane Ladd, in court in order to work on the movie as Ladd felt she was too young to travel on-location to do the shoot. Dern obviously won the battle, but the fight seemed hardly worth it as she ends up having very little to say or do.

Spoiler Alert!

The only time that things becomes insincere is when the Looters head singer (Ray Winstone) performs the opening act for The Stains and is met with a hostile response by her fans, so in retaliation he informs them that Corinne is a corporate sell-out and just like that they all turn on her. Having an entire stadium of young people go from rapid fans to extreme haters in a matter of seconds is just not realistic and one of the reasons why I believe this film did not do well upon its initial release and required a different ending put in, which was filmed several years later, in order to help salvage it.

My Rating: 7 out of 10

Release: October 16, 1982

Runtime: 1 Hour 27 Minutes

Rated R

Director: Lou Adler

Studio: Paramount

Available: DVD, Amazon Video, YouTube

Nekromantik (1987)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: They like dead bodies.

Rob and Betty (Robert Schmadtke, Beatrice Manowski) are a couple into necrophilia. Rob’s job as a street sweeper allows him to steal human body parts, which he brings home and stores in jars. One day he is able to sneak home a decomposed body and his wife makes love to it, which makes him jealous. Then he loses his job causing his wife to leave him and forcing him into an even darker mental spiral.

Director Jorg Buttgereit has stated that he never intended to be a serious filmmaker and made this simply as a means to rebel at the German film rating system, which would routinely edit out violent scenes from their films and ‘to shock as many people as possible.’ In that category it does succeed, but what I got most out of it was how funny it is with the ‘romantic’ sequence where a couple throws a severed head back and forth between each other in  a sort of playful, loving way while soft, romantic music plays in the background being the funniest.

There’s also an interesting film-within-a-film concept here where it makes pointed observations on the effects of horror movies on the general public while using its characters to inadvertently convey that message. The best scene here involves Robert going to a horror movie inside a theater, which shows  a woman onscreen getting ambushed by her attacker and then cut up by his knife, but the camera then cuts back to the movie audience and observes their detached and ambivalent  expressions even as the screams of the woman continue on the screen, which to me was the film’s most frightening and revealing moment.

The gore factor is of course quite high uses the technique first done in Cannibal Holocaust  where it cuts back and forth between an actual animal killing to that of a human getting cut open until you can no longer differentiate the real from the fake. The special effects are quite authentic looking despite the minuscule budget and even features a cat death although thankfully I think that one was improvised.

The acting by Manowski is excellent as she shows no hesitation or restraint with her role in a demanding part most other actresses would’ve refused. Her onscreen presence adds erotic energy and it’s too bad she didn’t remain in it for the whole duration as it’s only when the two leads interact that it gets  the most interesting. In fact a backstory showing how they first met and what started them off into their sick habit would’ve been nice.

If you’re into trashy gore this flick is for you although it’s more sickening than scary and in fact I don’t consider it a horror movie at all, but more a dark comedy, a very dark one. This was followed 4 years later by a sequel, which continues the story right where this one leaves off,  has the same director and star, and I’m told is even more graphic.

My Rating: 6 out of 10

Released: November 19, 1987

Runtime: 1Hour 15Minutes

Not Rated

Director: Jorg Buttgereit

Available: DVD, Blu-ray, YouTube

The Driller Killer (1979)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Electric drill relieves stress.

Reno (Abel Ferrara) is a New York apartment dweller who frets over his inability to pay his bills and the constant noise coming from a punk band next door who perform at all hours of the day and night and to which his landlord (Alan Wynroth) refuses to do anything about. The pressures to finish his latest painting, which he hopes to sell, become too much, so to alleviate the tension he takes a power drill out onto the streets and kills random homeless people with it late at night. For awhile this is enough but he eventually decides to use it on other people in his life who he feels have wronged him, which includes not only his girlfriend,but an art gallery owner (Harry Schultz) who refused to purchase his painting.

This is a definite step above the usual horror fare and seems in many ways like an arthouse film. It’s ability to capture New York’s dark urban underbelly gives the viewer a strong taste of what the main character is going through until you almost feel like you’re trapped there alongside him. The talky segments that come in-between the killings, which are usually the boring parts in most other horror films, are surprisingly captivating as they vividly convey all the reasons why Reno is so angry and give the viewer much the same feeling.

When the killings finally do start to happen it’s not so much the graphic violence that’s disturbing, but the fact that we relate to the man who’s doing it. We’ve understood his pent up rage by seeing how the unrelenting, impersonal urban system continually works against him making the murders act like a stress reliever not only to the killer, but the viewer as well as it breaks both us and him away from the never ending challenges of everyday life, which the film essentially portrays as being the real horror. Instead of being repelled by the bad guy we connect to him sending this movie into a far darker psychological realm than most.

While Ferrara shows a gifted ability as a director the film almost defeats it’s unique edge by dwelling too much on the urban hell hole theme as it makes its point and then drags it out by hitting-it-home again and again. The footage of the punk band becomes excessive too until it almost becomes more like a musical docu-drama. The killings aren’t very imaginative either as one quickly becomes like the other eventually making them seem like throwaway scenes that quickly lose their impact.

The film’s ending is particularly disappointing as it fades out before we know what happens to either the main character or his girlfriend (Carol Slaughter). A good horror film needs a strong finish and this one cops-out like it didn’t know how to end it, so it just leaves it up to the viewer to guess. While I commend its effort to take the genre into a more complex and unusual area I still felt it could’ve gone even further with its warped premise than it does.

My Rating: 6 out of 10

Released: June 15, 1979

Runtime: 1Hour 36Minutes

Not Rated

Director: Abel Ferrara

Studio: Navaron Films

Available: DVD, Blu-ray, Amazon Video, YouTube

Angst (1983)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Madman attacks peaceful family.

A serial killer (Erwin Leder) gets released from prison despite still having the urge to kill. He initially tries to strangle a female cab driver (Renate Kastelik), but she throws him out of her car before he can do it. He then goes running through the woods until he comes upon an isolated home. He breaks into it and kills each of the three family members living there one-by-one before eventually taking their lifeless bodies with him in the trunk of his car while he drives aimlessly around Austria.

This film is based on the real-life Austrian case of Werner Kniesek who murdered a family of three in their home on January 16, 1980 shortly after being released from prison. In that case Werner had known one of the victims previously while the movie its portrayed as if the killer has no connection to the occupants at all. In the actual crime Werner also killed the family’s cat where in the movie the pet is a dog, which the killer not only allows to live, but eventually befriends.

I’ve spent years complaining how most horror films aren’t very realistic, so I suppose I really can’t complain when one finally does decide to go all-in with graphic realism and not spare anything. The film certainly succeeds in being like a grisly true-life crime, but in the process it’s not very scary either. You know right from the start where it’s going, which makes the eventual violence come off as agonizingly drawn out and pointless. It’s like footage caught on a closed-circuit camera where you have no emotional bond with the people or action and when it’s over you’re left feeling drained and ambivalent.

Many people have praised the innovative camera work, which is provocative and some have even compared this to Henry: Portrait of a Serial Killer, but that film was more compelling in the way the main character was able to entice regular people to help him with his crimes while here there is virtually no dialogue or character arcs. There’s basically no story either just a graphic dramatization of a random crime that gets excessively drawn-out.

Leder is excellent and I liked how he portrays his character as being nervous, anxious and perpetually frightened as opposed to the stereotypical way of showing psychos who are robotically cold and relentlessly evil.  His voice-over narration allows for moments of insight too particularly when, as he is killing his victims, his thoughts are instead focused on past wrongs that were inflicted onto him from years ago by others, which made me believe this could very well be the thought pattern of most killers who selfishly remain fixated on their own personal injustices even as they callously destroy others.

The acting by the supporting cast is impressive too not so much from what they emote since they’re given very little to say or do, but more with the way they sacrificed  their bodies for the project particularly when the killer drags their lifeless corpses over broken glass (no mannequins or dummies were used) and down several flights of stairs. I also loved the dog and in fact he’s the highlight that allows for moments of levity and even comic relief in an otherwise unrelentingly grim film that will appeal only to a select group of people.

My Rating: 5 out of 10

Released: May 2, 1983

Runtime: 1Hour 27Minutes, 1Hour 15Minutes (Director’s Cut)

Not Rated

Director: Gerald Kargl

Available: DVD, Blu-ray, Amazon Video, YouTube

Possession (1981)

By Richard Winters

My Rating: 8 out of 10

4-Word Review: His wife goes crazy.

Mark (Sam Neill) is shocked to learn that his happy marriage isn’t so happy when his wife Anna (Isabelle Adjani) asks for a divorce. He hires a detective (Carl Duering) where he learns that she is living in an apartment, but she is not alone as something else resides there with her and it’s not human.

This was sadly the only English language film directed by Ukrainian born Andrzej Zulawksi who did most of his movies in Poland. This one was made in Germany in 1980 and what struck me almost immediately is that it seems like it could’ve been done just yesterday as it institutes much of the hand-held camerawork that is so prevalent in films today, but still quite rare back then. Sometimes I find this technique annoying and overdone, but here it helps build the plot’s kinetic energy and accentuates the material’s off-kilter tone.

The gifted Adjani is the main attraction particularly the drawn out scene where she becomes possessed while inside an underground subway, which has to be seen to be believed and quite frankly a landmark moment in cinema.  I also loved how the director focuses in on her expressive blue eyes where in one scene they convey a fiery evil and then quickly cuts to them exposing a pleading emotion that remains just as captivating.

Sam Neill makes the viewer feel almost exhausted as he manifests the feelings of his character to the point that he looks both physically and emotionally drained and his acting becomes indistinguishable from genuine raw emotions. I have seen him many films before, but here he’s like a different person and not connected to the man we’ve seen or known before.

There’s definitely some over-the-top moments, but what I really liked is how it never forgets about the little details either. I’ve complained before about how blood in most movies looks fake, but here it has just the right reddish hue, which looks more authentic as does the scene where Neill slaps Adjani violently. I also appreciated how the child character (Michael Hogben) is never forgotten. Too many other films dealing with a fighting couple introduce the child up front, but then he essentially disappears as it becomes all about the adults, but parenthood is a 24-hour job that parents can’t just forget about even when it’s inconvenient and this film nicely reminds both the viewer and characters of that.

The more the film went on the more convinced I became of how it could never have been made in the US as there’s too much of an emphasis on making movies ‘marketable’ and genre specific while this film defies all the preconceived formulas, which is why it’s so cool as you have absolutely no idea where it’s going and each new twist is a genuine surprise. Despite being almost 40 years old it remains fresh and inventive and far more original than 99 % of the other movies out there. It’s like a drug trip where after it’s over you feel like you’ve lived through an actual event.

My Rating: 8 out of 10

Released: May 25, 1981

Runtime: 2Hours 7Minutes

Rated R

Director: Andrzej Zulawski

Studio: Gaumont

Available: DVD, Blu-ray (Region B/2)

Out of the Dark (1989)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Stalking phone sex operators.

Women working at a phone sex hotline known as Sweet Nothings suddenly find themselves menaced by a strange killer wearing a clown mask. One-by-one they start turning up dead and suspicions fall on a regular caller named Bobo, but the police have a hard time tracking him down, so the remaining women take matters into their own hands.

The film starts out with potential particularly the recreation of the call center that was completely on-target and had the film remained exclusively in this setting it could’ve been engaging. I wished though that the operators hadn’t all been single as it would’ve been interesting seeing a married woman working there and how her husband adjusted to it. I also wanted to see some character arcs especially from Camille (Star Andreef) who plays a ‘newbie’ starting out in the business. It would’ve been fun having her reserved and shy at the start and then eventually gotten into it after a few days as opposed to her diving into the unique job demands without hesitation right from the start.

Karen Black as the manager of the place is good and I liked how the film analyzes her different life roles from being a single parent raising a daughter to an amusing moment where she jumps on the phone to help out another operator by playing the part of a ‘three-way’ during a sexual fantasy. Unfortunately her presence is sporadic and the film fails to have any consistent protagonist only to eventually settle on two who are so incredibly dull and generic that is just makes things worse.

Tracy Walters is boring as the detective in a tired caricature of a gruff/crude policeman that doesn’t work at all. Divine plays his male rival, but is only seen briefly during the film’s final 30 minutes when he should’ve been given the lead and if he had the movie might’ve been an interesting curio worth catching, which at this point it’s not.

The killer like everyone else in this failed experiment of a movie has no pizazz despite his creepy mask and the comical comments that he makes after he kills each of his victims are annoying. I realize a lot of slasher flicks were having their killers do this at the time, which was all the more reason why this film should’ve avoided it. Finding out his true identity is a big letdown too and there’s never any explanation as to how he’s able to be at two different places at once particularly during the scene where he is shown talking on a pay phone to one of the sex operators and then almost simultaneously appears at her home where he then strangles are.

Initially it seemed, especially with its eclectic cast, that this was going to be a horror parody and that’s how it starts out, but after the first 10 minutes it careens downhill and never recovers. Instead of being a step above the usual horror flick it actually ends up being even worse and don’t let the cast of cult stars fool you either as this is not worth catching for any reason.

My Rating: 2 out of 10

Released: May 5, 1989

Runtime: 1Hour 29Minutes

Rated R

Director: Michael Schroeder

Studio: Cinetel Films

Available: DVD-R, Amazon Video, YouTube

Clownhouse (1989)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Clowns terrorize three kids.

Three brothers (Nathan Forrest Winters, Brian McHugh, Sam Rockwell) find themselves alone late one night in their big house when their parents are away on business. They try to scare each other by telling spooky stories involving clowns, but little do they know that three mental patients (Michael Jerome West, Byron Weible, David C. Reinecker) have escaped from a nearby insane asylum. They kill some men working as clowns at a local circus and then disguised as clowns themselves sneak inside the home where the boys reside and try to kill them.

This film has become better known for what went on behind-the-scenes as writer/director Victor Salva was convicted of having sex with the 12-year-old star Winters (no relation) during the production and ended up serving 15 months of his 3-year prison sentence at which point he was then released and has since gone back to filmmaking. To some extent even without having known this one could almost suspect that idea because, like in the movie Salo, or The 120 Days of Sodom where the director featured a lot of underage nudity only to later be convicted of a similar charge, this filmmaker does the same thing by opening the movie with the boys walking around in their underwear and at one brief point capturing the young star’s naked behind, which was not needed and comes off as intentional voyeurism.

If you can get beyond the production’s notorious backstory then as a horror movie it’s not too bad as Salva shows a good ability at building a creepy, surreal-like atmosphere particularly the scenes done at the circus and then later at the large, ominous house. The only problem is that the setting is supposed to be a couple of weeks before Halloween even though all the leaves on the trees are green, which doesn’t exactly resemble fall.

The plot though is weak and it would’ve worked better had it not given away who these men in the clown costumes were until the very end, or maybe not at all. Having lunatic characters escape from a mental hospital is generic and it would’ve been more intriguing had the viewer suspected these clown as being a part of the child’s imagination instead.

Despite the short runtime the pace still bogs down with a premise that builds too slowly and drags out the suspense longer than need be. The mental patients behave more like professional clown performers and never even say anything once their make-up is applied, which is not believable and all the more reason for the film to have taken a surreal turn by portraying the clowns as figments of the boy’s imagination who have inexplicably come to life.

Ultimately it plays itself out too soon and lacks any type of final twist. Winters appears to be the same age as McHugh who was playing his older brother and at age 12 behaved more like a 6-year-old making me feel the the part should’ve been given to a younger performer. It is however fun seeing Sam Rockwell in his film debut and still looking very much like an adolescent.

My Rating: 4 out of 10

Released: January 28, 1989

Runtime: 1Hour 21Minutes

Rated R

Director: Victor Salva

Studio: Zoetrope Studios

Available: DVD

All the Colors of the Dark (1972)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Haunted by her nightmares.

Jane (Edwige Fenech) is plagued by nightmares dealing with a blue-eyed man (Ivan Rassimov) chasing after her. She feels that the memories of the recent death of her child as well as the loss of her mother when she was younger may have something to do with it. Her sister Barbara (Susan Scott) has her see a psychiatrist (George Riguad) while her friend Mary (Marina Malfatti) suggests she attend a black mass, but neither helps and just makes things worse until she can no longer differentiate between her dreams and reality.

The film is a strong tie-in to Rosemary’s Baby and in many ways seems to be playing out the same essential plot, but doing it in a more vivid, graphic way. Instead of implying the horror like that one did this one goes straight to the stuff that was never shown or just briefly touched-on. For the most part I liked this approach as I always felt the Roman Polanski classic was too restrained and talky and could’ve gone farther cinematically with its intriguing premise than it did.

The visuals here are almost in-your-face particularly the surreal opening bit, which is the best moment in the movie. Director Sergio Martino keeps the viewer off-balance by constantly going back and forth between the present day and then to Jane’s nightmares until it becomes increasingly harder to tell the difference between them, which makes the viewer feel locked into Jane’s frightening dilemma right along with her.

Unfortunately rhe plot itself isn’t as creative and there were many times when I foresaw the twists long before they happened and could even predict when they’d come. The protagonist walks into too many traps that anyone else could’ve guessed was coming making her seem a bit dense while the cult-like mass segment had too many clichés making it campy while eroding from the rest of the film’s provocative style.

Fenech doesn’t look like the average housewife either, but more a magazine model and in fact all the women here have too much of that same appearance, which takes away from the authentic feel. Part of the reason why Rosemary’s Baby worked was because Mia Farrow came-off as fragile and vulnerable while Fenech has a detached look in her eyes that doesn’t allow her to emotionally connect with the viewer even though as the film progressed I softened on her more.

The on-going twisting of the dreams and reality eventually overstays their welcome becoming more annoying than intriguing particularly near the finish where too many false endings get played-out. Even though it never matches its first 10 minutes and isn’t as erotic as the film’s promotional poster suggests I was still glued to what was happening and it’s one of the more memorable Italian giallos of all-time.

My Rating: 6 out of 10

Released: February 28, 1972

Runtime: 1Hour 35Minutes

Rated R

Director: Sergio Martino

Studio: Interfilm

Available: DVD

Silent Madness (1984)

By Richard Winters

My Rating: 1 out of 10

4-Word Review: Mental patient stalks sorority.

Due to the similarities in their names a mute mental patient named Howard Johns (Solly Marx) gets accidently released from a psychiatric hospital and returns to the scene of his crime, a college sorority, whose members he slaughtered years before. Dr. Joan Gillmore (Belinda Montgomery) tries to track him down, but finds no help from the staff at the hospital who are more concerned in covering up the error to the extent that they secretly send out two thugs (Dennis Helfend, Philip Levy) to kill Joan so she won’t be able to tell anyone else about it.

It’s hard to tell if this movie wants to be a conventional slasher flick or a parody and the cartoon like opening theme music makes it sound like it’s going for the latter. Either way it’s a one-dimensional, low grade, monotonous excuse of a film that essentially has nothing going for it even when compared to other entries from the genre. Supposedly it was made to cash in on the 3-D craze, but there’s not enough action to justify it. There’s a killing at the start, but the middle drags on with Joan’s plodding investigation as to the whereabouts of the killer that the viewer already knows the answer to and watching these cardboard characters spend 80 minutes coming to the same conclusion that we know from the start is extremely boring to say the least.

This is the type of cheap crap that needs to be approached with tongue firmly in cheek, but Montgomery plays it too earnestly acting like she’s in a serious drama, which just helps to make it more intolerable. The killer is equally dull and for that matter really isn’t scary. I felt that the only reason the character was made to be a mute was because the actor who played him was a stunt coordinator with limited acting experience and therefore the less he had to say the better.

The only bright spot is the presence of Viveca Lindfors a talented and aging star whose career peak was in the 40’s, but who still manages to give this second-rate material here an admirable effort. Unfortunately she appears for only about 5 minutes as the sorority house mother, but then later becomes an integral part to the film’s twist ending, which was enough to earn this thing a measly point.

My Rating: 1 out of 10

Released: October 26, 1984

Runtime: 1Hour 27Minutes

Rated R

Director: Simon Nuchtern

Studio: Almi Pictures

Available: DVD

Hell High (1989)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Teens regret pranking teacher.

When she is 6 years old little Brooke (Amy Beth Erenrich) accidently kills a couple by causing the motorbike they’re riding on to spin out-of-control. Now, 18 years later Brooke (Maureen Mooney) teaches at a high school where she has a confrontation with one of the students named Dickens (Christopher Stryker). Dickens decides to get his revenge by having him and three of his friends (Christopher Cousins, Millie Prezioso, Jason Brill) terrorize her by going out to her home wearing masks. Things though unravel when the demons of Brooke’s past come back to haunt her, which turns her into a psychotic killing machine right before their eyes.

To a certain degree this film is slightly above the usual cheesy horror flick level. Although the dress that the child wears during the flashback segment looks ridiculously campy I still felt this scene was the best moment in the film particularly the shot of the couple impaled by the fence. The on-location shooting is decent too as I visually got an authentic high school feel both on the campus and during the football game. The kids look like genuine teenagers too and they even manage to have distinct personalities. The spacious, remote home that Brooke lives in helps exude a Straw Dogs tone, but it was weird that she resided in the same place that she grew up in and I presume the only good reason for this was budgetary. The approach is offbeat and initially intriguing even though the tension gets destroyed by going off on a long tangent involving a high school football game that was not needed.

The biggest problem though comes when it tries to connect Brooke’s traumatic childhood experience with what she’s going through now, which is just too much of a stretch. If she is as mentally fragile as the film insists then her inevitable meltdown would’ve occurred far sooner like when she was 8 or 10 instead of having her supposedly lead a normal life and then flip-out like a light switch without warning. It’s also confusing why she doesn’t just call the police right away when the kids first started to scare her.

Once the killings happen it gets boring and mechanical and the plot would’ve worked better had it not been known until the end who the killer actually was. The animosity between Brooke and Dickens, which is well-played by Stryker who unfortunately died before the film was released, needed a better final confrontation that was more drawn-out as Brooke overpowers him too quickly making his transition from bully to scared victim not as ironic as it could’ve been.

For me though the scariest part in the film had nothing to do with the intended ‘horror’, but more with the incredibly disrespectful way Brooke gets treated by her students when she tries conducting her biology class. Teachers don’t get paid enough to be expected to tolerate the snide behavior that she does nor should teens think that is acceptable while in the classroom, which is sad and even a bit disturbing.

My Rating: 4 out of 10

Released: May 12, 1989 (Filmed in 1985)

Runtime: 1Hour 24Minutes

Rated R

Director: Douglas Grossman

Studio: JGM Enterprises

Available: DVD