Assault On Dome 4 (1996)

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“Die Hard” in space. You don’t really need to know a ton more than that to make a decision on whether to watch this or not. Heck, even IMDB’s first line is “low-budget Die Hard clone”! Along with “The Most Dangerous Game”, “Die Hard” is one of the most enduring templates for low-budget cinema, because it’s an enclosed location and a limited number of actors and the plot is fairly standard. But even in a genre lousy with clones, “Assault On Dome 4” really tries to set itself apart from the pack by being as similar to “Die Hard” as possible. Cop not supposed to be in a location? Check. Wife, unaware of his presence? Check. Charismatic psychopath criminal boss? Check. Need of particular location for some nefarious criminal purpose? Check. Cop fights guerrilla war against almost insurmountable odds? Check.

 

ASIDE: There’s a whole website devoted to the “Die Hard scenario” and its many iterations, so if you’d like the complete list, it’s HERE.

 

Add in Bruce Campbell, and I imagine most of your decision has been made for you, one way or the other. The B-movie legend plays super-criminal Alex Windham, who manages to escape from the apparently most secure prison in the galaxy and bust out a load of his criminal cohorts too. Now, before we get going, you might look at the alleged super-prison, and think it looks a bit like the top level of a normal car park. You might wonder why it only has three guards in it, and how Windham’s plan to escape is pretty much just “overpower a guard and steal his gun”, and how the galaxy’s most secure prison would probably have one or two more safeguards in it to stop this thing happening. But if you wonder these things, it’s going to be a long evening.

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We have yet to come to the hero of proceedings, the guy for whom the movie is named in some markets. Chase Morran is a cop, whose wife works on Dome 4 – Dome 4 is a scientific base on a far distant planet, but all terraformed and quite nice (hence, in the brief outdoor bits, you can see clear blue skies). He’s decided to go and surprise her for her birthday. Guess which Dome our band of criminals need to go to, to get ingredient X for their secret plans? Anyway, Morran is played by a fellow called Joseph Culp, perhaps best known as the son of Robert Culp, or maybe for a recurring role on the early seasons of “Mad Men”. To say he doesn’t look like an action hero is putting it mildly – he’s a skinny, relatively uncoordinated chap who doesn’t exactly light the screen up with his presence, and if I didn’t know better I’d say he was the money man behind this movie because it seems genuinely insane that anyone thought he could hold his own against Bruce Campbell.

 

He also has the habit of explaining all the things he’s doing, as if the actor was trying to remember, and combined with the completely drama-robbing framing device of the alive and well Morran defending himself at a tribunal about the assault on Dome 4, you feel like you’re being told about the action rather than shown it.

 

A couple of other decent names pop up – first, the great Brion James as the Chairman of the United Government (you might wonder about why Morran is having to go to court, when his “mission” was approved by the most powerful person on Earth…); and Jack Nance as some old guy who’s completely unconnected to the rest of the base, and whose job seems to be repairing old computers. In deep space. Anyway, this is possibly the last movie Nance ever made, as he died in odd circumstances in 1996, and it’s a damned shame.

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There’s quite a lot of fighting, which is a curious choice for a leading man who wasn’t any good at it. When Morran’s old friend, the General, shows up to help out, it’s a veritable skinny white guy apocalypse. Were actors who looked like they knew what they were doing on strike that week?

 

One final scene discussion before we wrap this up. The base’s cops are being held hostage, so Morran decides to bust them out and even up the odds. However, his crappy plan just gets them all killed, but the movie seems uninterested in pointing to Morran’s guilt in these deaths – they were all safe and sound before he stuck his oar in, lest we forget. For such a nothing actor, this movie really does love him; the end of his “court case” is absolutely pathetic.

 

I thought perhaps the other work of the crew would give us a hint as to why this movie is so empty of fun and interesting stuff. This is director Gilbert Po’s only English-language movie (and one of only two he ever made); and writer Hesh Rephun (made up name, surely?) isn’t much more prolific, with only this, a teen raunch movie so terrible even I’d never heard of it, and an early Mark Dacascos vehicle to his name. Why was this made? Who thought it was a good idea? Why was it renamed “Chase Morran”? If the character’s not famous, and the actor playing him certainly wasn’t, what was it supposed to achieve?

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Bruce Campbell is always watchable, and Jocelyn Seagrave as Chase’s wife is fun too (she was also in “Moonbase”, so must have briefly specialised in the 90s in sci-fi films with escaping criminals in them). But pretty much nothing else is. Lazy and pointless and, I discover, a very early SyFy Channel original movie (when they were still Sci-Fi). Start as you mean to go on, guys!

 

Rating: thumbs down

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Man With The Screaming Brain (2005)

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Our mini-season of SyFy reviews concludes with Bruce Campbell’s directorial debut. It’s as unlike a normal one of their efforts as it’s possible to get, and after the hyper-generic “Ice Quake”, that’s refreshingat least. Whether refreshing = good is a conundrum the next 800-1000 words will unlock for you!

 

Campbell wrote “Man With The Screaming Brain” some years ago, and set it in LA, but when SyFy got on board, they suggested Bulgaria as it was cheaper to film there. Well, by “suggested”, I mean said ”film it where it’s cheap or we’re out”. So Bulgaria is the location where stereotypical ugly American William Cole (Campbell), the CEO of a drug / research company, has decided to take advantage of some juicy investment opportunities. He and his wife seem to hate each other, and she immediately falls for their taxi driver – who they pick because he’s the only one who can speak English – Yegor (Vladimir Kolev, “Dungeons and Dragons: The Book Of Vile Darkness”). He mocks Cole when they first meet, and as he’s quickly shtupping Mrs Cole in the back of his taxi, there’s clearly something less than respect there. But we don’t really get time to drink this in. There’s a lot of stuff in this movie!

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Tatoya (Tamara Gorski) is a woman with a confusing backstory and motivation, a problem she shares with every other character. She kills her boyfriend when he decides to dump her, then steals some stuff from Campbell, then when he confronts her, kills him with a lead pipe, and shoots Yegor, who was coming to help. An impressive amount of work for the first half-hour, I’m sure you’ll agree.

 

This leads to the last spoke of the movie, the mad scientist and his assistant Pavel. Ted Raimi, friend of Campbell’s since childhood, starts at OTT and just keeps dialing it up as Pavel, and Stacy “what the hell is he doing here?” Keach is Dr. Ivanov, who’s invented a serum that allows part of one person’s brain to be transplanted into another person’s brain, to heal damaged areas and so on. If only he had a couple of recently killed people, one of whom had a head injury, to test his invention on! That he tried to interest Cole in his invention before is what counts for irony in a movie as bonkers as this.

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Anyway, the majority of proceedings is incredibly tiring slapstick, as Cole, with Yegor riding shotgun in his brain, with one of them sort of in control of one half of the body, the other the other, trying to track down and stop the woman who killed them both. Campbell gives it his all, but he must have realised this was pretty weak sauce compared to the stuff he used to do with Sam Raimi (and they really try to remind you of those movies with some of the physicality). They seem like a pair of friends who are mildly annoyed with each other, rather than strangers who met ten minutes ago.

 

His wife, unhappy with her husband and happy to turn off his life support, then finds Tatoya (lord knows how she knew where she lived) and tries to kill her. You think she’d be thanking her? But of course Tatoya kills her too, and this allows Ivanov to put her brain in a robot’s body and all the wackiness that ensues from a crap immobile robot wandering about. There’s little worse than unfunny comedy, because when the jokes fail you’ve got nothing to fall back on.

 

I’ve perhaps been overly unkind to it. There’s a weirdly prescient reference to “Donald Trump” when discussing the worst excesses of Americans; there’s some real and completely unvarnished Bulgarian locations, very much unlike anything you’ve seen of Europe in most movies; and the casual attitude of Raimi and Campbell to deaths all around them is pretty funny too.

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That above paragraph is, as I’m sure you noticed, pretty much the definition of damning with faint praise. Campbell clearly recognises where comedy should go in a movie, but he seems unable to provide it, giving us sections that in another pair of hands might have us creasing up with laughter but here just leave you, full of goodwill for his amazing career, just short of smiling. He’s not much of a director, which might be why he and Sam Raimi divided up the jobs the way they did back in 1980. And if I had to guess, I’d say he let Ted Raimi write his own dialogue, and he’s even less funny than Campbell is. He obviously loves old B-movies the same way I love them, and peppers the movie with references and plot devices from them, but…well, a lot of them sucked, too.

 

The thing is…there’s no reason for any of this stuff to happen. It feels like Campbell had an idea after watching “The Man With Two Brains”, wrote a bunch of slapstick but then couldn’t really be bothered with the rest of it. There’s a long list of “why is this happening?” questions you’ll ask yourself as things go on, and none of them will be answered.

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If you want to feel embarrassed for these folks, listen to the end credits, where Raimi gives us a rap song, in character, about how he’s stealing bodies and doing brain surgery. As much as I love songs written from the perspective of the people in the movie, or performed in character, this is miserable. Then I remembered the other passion project “My Name Is Bruce” that you’d expect to be hilarious but was actually, much like this, all sound and fury signifying nothing, and thought perhaps this is as good as we can expect?

 

Rating: Thumbs down

Alien Apocalypse (2005)

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Some actors, despite them never being A-listers or anything like that, always elicit a “why are they slumming in this?” response when you see them in a SyFy Channel original movie, one of them being Bruce Campbell, among the most entertaining movie stars ever. If you’re the sort of person who reads reviews on the internet and don’t know Bruce and all the wonderful things he’s done, then go away from these words right now and immerse yourself in one of the finest bodies of work you’ll ever see.

 

Heck, he’s even good in this, a relatively early attempt for SyFy. It’s a sort of half rip-off of “Planet Of The Apes”, as osteopath Dr Ivan Hood (Bruce), other astronaut Kelly (his “Xena” co-star Renee O’Connor) and a couple of cannon fodder, come back to Earth, having spent 40 years in suspended animation in space. Not sure why, to be honest. Presumably some mission somewhere, but it’s really never mentioned, it’s merely an excuse to have a bunch of people gone for 40 years. Bruce is a dick to his co-astronauts, immediately hoping the world has gone to hell while they’ve been away so he can use his medical skills to become known as “The Great Healer”, and of course he gets his wish.

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The world has been taken over by alien termites, called “Mites”. They’re human sized and are moderately confusing, if truth be told. They enjoy eating human heads, fingers and…wood. Y’know, being termites and all. They dropped bombs on most of the cities, destroying the people but leaving the forests intact, and have set up humans as slaves to cut trees into presumably delicious and manageable planks. One character says “they aren’t growing any new ones” as if that’s supposed to explain this patently ludicrous plot. Why don’t they just ship back a bunch of lovely Earth earth and cut out the middleman? Why aren’t they growing new trees? Why aren’t new ones just growing anyway? Why is the lumber yard where most of the action takes place surrounded by trees? Wouldn’t they cut the closest ones down first?

 

Asking questions of the plot’s logic is definitely a fool’s errand with this one, so I’ll try and stop. After a couple of early deaths, Ivan and Kelly get captured by the overseers (humans who work for the aliens) and we get to see the wonderful state of the extras. Every beard in this movie is horribly fake, for no good reason (several male actors are clean-shaven, so it’s not like they wanted everyone with one) and they’re all victims of the worst dubbing job I’ve ever heard. Now, I understand if you’ve not got much budget and are filming in Eastern Europe, you’re going to need to hire locals, but could they not hire ones who could act a little? And when it came to dubbing them, for the dozens of voices, they used one guy. Every single bloody human sounds the same!

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Most of the movie is Ivan’s escape and transformation from selfish asshole to humanity’s saviour, Kelly’s recapture and the story of him building an army out of the remaining pockets of free humanity. Luckily, they’re a short walk from where the last President and his senators are holed up, but of course they’re no good, but lots of people join up, mostly thanks to Ivan solving their relatively minor back problems. Bearing in mind humanity’s only been enslaved for 20 years, almost no-one remembers doctors or indeed anything about the old world, which isn’t played for laughs as much as I thought it’d be. Oh yes, there’s the local woman who joins Bruce, skinny, beautiful and well-shaved in the way many modern women are, but very very few post-apocalyptic women would probably be. Did they find a cache of old razors? There’s also a bit where Kelly sees a couple of gross dirty locals having sex a few feet away and gets so turned on she goes and jumps Ivan’s bones immediately.

 

The plot hinges on Ivan killing a Mite with a small bit of metal, and every single human acting as if it were impossible. So, in the entire history of human enslavement, not a single person swung a stick at a Mite’s head, or fired an arrow, or punched, or even shot a damn gun? When the humans figure out that yes, they can fight back, we’re then treated to a “Spartacus” ending, where the slaves rise up, everyone says “I’m responsible” to save Ivan’s hide, that sort of thing.

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While it’s got a decent sense of how ridiculous it is, and both Campbell and O’Connor are lots of fun, it’s so shoddily made that the “we’re just having a laugh” excuse becomes less usable. There’s no excuse to have only one voice guy, or such terrible fake beards. Director Josh Becker and Campbell have been friends since childhood, which explains why he agreed to do this; looking at his credit list, Campbell and the Raimi brothers have appeared in most of his directing efforts since the mid 80s. It might reasonably be said without his more famous friends, he wouldn’t have had a career, but it’s…fine, I guess?

 

The biggest issue comes from the lack of connective tissue. While I often complain about  movies which take too long to get going, it’s jarring to see a movie where the main character is captured and working as a slave inside the first ten minutes – I’d have liked to see more of the world they found themselves in first (we get a shot of a destroyed Portland, but it’s not really enough). It’s like they wanted to get to the good stuff so just skipped character building and a decent narrative arc and all that.

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You’ll have fun with this one if you’re a fan of Campbell, and if they repeat it on SyFy you could do a heck of a lot worse.

 

Rating: thumbs in the middle

 

Maniac Cop 2 (1990)

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I enjoyed “Maniac Cop” recently, but had been told by a few smart people that part 2 was better, that director William Lustig and writer/producer Larry Cohen had figured out what worked and what didn’t and built on the strengths. And those smart people were absolutely right – “Maniac Cop 2” is a stronger, leaner, more fun movie, with its weaknesses buried way down and its strengths magnified. Plus, it’s got an amazing purpose-written rap song playing over the end credits! One of my favourite movie things is when they have a song which is about the movie – in fact, I might make a compilation of them one day.

 

What “Maniac Cop 2” does is bring the slasher movie subtext out, front and centre. This is about a horribly disfigured, supernaturally powerful killer with a very strange moral code, who relentlessly pursues his goal, slaughtering everyone who gets in his way (although he does hide his actions quite cleverly at the beginning). We see Matt Cordell (the late great Robert Z’Dar) thanks to this movie repeating the last few minutes of part 1, getting a metal bar to the chest and driving into the bay, but as part 2 starts – with Bruce Campbell and Laurene Landon being cleared by the Commissioner – he’s nowhere to be found, as he wasn’t recovered with the dredged police truck he was driving. But you know that he’s just biding his time before going back to work!

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The Commissioner is still trying to stick to the line of part 1, that it’s just a large psychopath dressed in a police outfit, but luckily this rather pointless stance is mostly ignored. As Campbell and Landon are both dispatched – in classic slasher movie fashion – fairly quickly into the sequel by a revitalised Cordell, with grey skin, horrible scars and a missing nose. Now, this might be a problem with HD versions of the movie, but as they try and half-hide Cordell’s face, it’s mostly visible on several occasions, making the big reveal when it comes a little anti-climactic. But anyway.

 

The stunts, thanks to Spiro Razatos (who’d go on to do the stunts for “The Expendables”, the last three “Fast and Furious” and the two “Captain America” movies) are superb, and are peppered liberally throughout the movie. The two new stars – Robert Davi as Detective Sean McKinney and Claudia Christian as police psychologist Susan Riley – are put through the ringer, most memorably as Christian is handcuffed to the wheel of a car (from the outside) then the car is pushed down a hill. But there’s tons of great action, to go along with Cordell’s slaughtering.

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There is a plot, in case you were wondering. Leo Rossi is Turkell, a deranged fella who sees it as his job to clean up the filth from the streets – he’s killed a number of strippers before he and Cordell cross paths. The two of them form a friendship, of sorts, and even though Cordell utters one word (his name) they’re able to communicate. Anyway, Rossi is eventually caught, which gives them an idea – take a guy who’s about to be committed to Sing Sing prison, pretend to be his guards to gain access, then slaughter their way through the prison to bust out everyone on Death Row and form an army of psychopaths. Oh, and while he’s there Cordell can get revenge on the people who “killed” him when he was an inmate there too, which is a nice bonus.

 

McKinney and Riley, while initially sceptical, meet Cordell themselves and head up the search for him, going over the head of the Commissioner to the press (again). I like their little team – not a hint of romance, but a believable friendship. Also, I reckon Robert Davi and Claudia Christian must have quite enjoyed the chance to star in a movie, and they’re both excellent. They give fairly straight police-thriller performances, even though they’re in a slasher movie, and I like it. Oh, and popping up in an entirely wordless cameo is Danny Trejo as “Prisoner”. That guy got around.

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But all this plot and investigation is really just a framework on which to hang some brilliant set-pieces. Seeing Cordell shoot his way through a police station (never mind how a grey-skinned zombie monster got in there in the first place) is super-exciting, and the final set piece in Sing Sing is brilliantly done as well. Although…the way they finish off the Maniac Cop, by clearing his name of the stuff which landed him in prison in the first place and giving him an official police burial, making sure the corrupt cops admit to their crimes too, is a fascinating way of doing things.

 

It’s a huge improvement over part 1, a tense, tight, gore packed, stunt packed, little gem of a movie. I’m moderately afraid part 3 will be a flop, but after two such strong entries, this series is already strongly in the “win” column for me.

 

Rating: thumbs up

Maniac Cop (1988)

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I love Bruce Campbell in movies and on TV, but I think I’m so used to seeing him play light roles that when he’s called upon to be completely serious, it’s a tiny bit jarring (luckily, this happens very rarely). He’s got the looks and the talent to be a leading man in stuff like this, I just think he’s too odd – in a nice way – to stick with straight thrillers for long.

 

Our first shot is of the World Trade Centre, which is always sad to see on film, then straight into the killing! A barmaid leaving her late shift gets hers first – she’s attacked by a couple of Puerto Rican robbers, then when she runs into the park (rather than, I don’t know, back to the bar she just left) and attempts to get help from a cop stood in the shadows, she gets choked to death and her neck snapped for good measure. That this disgusts even the two criminals is a nice touch. The first time you get a glimpse of the Maniac Cop’s profile, any fan of trashy cinema will go “okay, that’s Robert Z’Dar. Why are you hiding him?” but I guess they do sort of explain it later. He kills a random fella driving round, too, and this eventually gets the police to thinking it’s a guy pretending to be a cop, with the lead detective the sole dissenting voice that it might actually be a cop.

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That lead detective is Frank McCrae (Tom Atkins), and he’s got red herrings, sorry co-workers, in the shape of Captain Ripley (William Smith) and Commissioner Pike (Richard Roundtree). The B-movie superstardom is strong in this movie! When they’ve finished setting things up, only then do we get to meet Bruce as Officer Jack Forrest, a man trapped in a loveless marriage who’s having an affair with his co-worker, Detective Therese Mallory (Laurene Landon, whose parents obviously wanted a son called Laurence and had already filled in half the birth certificate). His wife discovers them in a motel – when presumably Mallory has her own place they could go to – and it’s here when things get a bit odd. The wife is abducted from right outside, killed viciously and then dumped back in that same motel room when the lovebirds have left, pinning the murder – and by extension, all the others – on Forrest!

 

There’s twists and gory kills and extremely helpful side characters who fill the main characters in on the plot, but I don’t just want to recap it all. It’s a curiously structured movie, for sure, but at least it’s different, and different is worth celebrating. When you finally see the Maniac Cop, front and centre, you’ll think “how on earth did he just walk into that police station?” but boy oh boy, does he love killing and doesn’t mind who. They also give us a flavour of what New York would be like if it was leaked to the press that someone was dressed as a cop killing people – one timid-looking woman ventilates an innocent patrolman’s head, for one – and the TV is full of black people telling their tales of all cops being maniacs when it comes to their community. When our heroes eventually figure out who it is, we also get his backstory dropped into the action, which is both sad and horrifying.

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Campbell’s old friend Sam Raimi pops up in a rare acting role as a TV news guy, and he also apparently shot some of the footage round a St Patrick’s Day parade in order to secure funding for the rest of the movie; this adds to the authenticity of things, as that’s the movie’s actors in a real parade

 

When you think about it, it’s pretty much a slasher movie crossed with a police thriller, even if I wish they’d been a tiny bit more explicit about why he’s indestructible – he takes dozens of bullets to the chest and a few to the head, none of which faze him. But it’s got some great set-pieces, including the assault on the police station (definitely not inspired by The Terminator, how dare you?) and the definite feeling that the people who made it put some serious thought into it – the villain’s motivations were once vaguely sympathetic, and the TV news mentions how low crime is with him on the streets, a nice touch. I also admire how they never really tried to make Bruce Campbell a suspect, despite the slight chin-based similarity between him and Z’Dar, and that the nominal hero of the movie is a guy cheating on his wife who doesn’t really do much of anything at the climax.

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It’s stupid in places, but the energy and strange turns the plot takes (plus grimy real New York locations) make up for that. That’s due, I think, to the B-movie talent behind the camera as well as in front of it. The director is William Lustig, who also gave us “Maniac”; and writer Larry Cohen, who among many movies wrote “It’s Alive!” Oddest of all – this movie’s excellent stunts were brought to us by Spiro Razatos, who’d go on to do the stunts for the last three Fast & Furious movies!

 

Thoroughly enjoyable shlock fun. Give it a go.

 

Rating: thumbs up

Moontrap (1989)

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You know a TV show is famous when fairly minor actors from it still get leading roles in movies 20 years later. “Star Trek” is that show, and Walter Koenig is that actor. We’re covering it for ISCFC because it’s just been re-released on blu-ray with a ton of decent special features (like we need a reason to cover obscure old films).

“Moontrap” makes fairly clever use of the 1969 moon landing footage, as if to say “whoops, look who that woke up”, before opening credits which are, I presume, just different enough to two or three famous sci-fi franchises they ripped off to avoid legal action. We’re then swept into First Contact, and the two lucky fellows who do this are Koenig and Bruce Campbell, two Space Shuttle pilots. They happen upon what is, lest we forget, a completely alien space-ship, and act like one of them found $5 he wasn’t expecting in his back pocket – sort of pleased, but not as excited as you’d expect to be when discovering THE EXISTENCE OF ALIENS!!

The one thing they remove from the ship is something which looks an awful lot like the head of a penis, but is actually a super-tough alloy shell for a tiny robot thing. Along with a floating space-corpse, which they identify as a 14,000 year old human, they take it back to Earth, discuss Ancient Astronauts for a bit, get attacked by a giant robot built by the tiny robot from stuff he had lying around, then realise they need to go back to the Moon to find the base of the penis-end aliens and avert a potential invasion.

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Much like so many other low-budget movies, these people seem to exist in a bubble where there’s no police, no authorities, and no news. I just don’t believe that in the present day, even if it’s a world where space travel is commonplace, that the shuttle could find a spaceship as gigantic as that one is and no-one on the ground spots it – or at the very least, listens in on their communication with mission control. Perhaps I’m just not a believer in the conspiracy theory about the Government keeping alien stuff secret – if they found something, it would ensure NASA’s funding for the next hundred years. The only people who seem remotely bothered about first contact are the two pilots, two scientists and one government fella, and I think the reason this all feels so off is that it’s empty. They can afford more extras for the barroom scene that follows this, and that’s just a bad use of resources.

It’s hard to reveal how illogical the ending is without spoiling the heck out of it, so I’ll leave that for you to discover. But when you’re watching it, just think about how unlikely those final few scenes are. Well, not the very last scene of course, the classic “all our sacrifice is for naught” ending so un-beloved of viewers of genre movies.

Walter Koenig is a perfectly serviceable actor, but the problem is him being a leading man in 1989. He was 53 at the time, and looked older, so while there’s not tons of action-movie-hero stuff to be done, there’s enough that I just don’t buy him doing it. His pre-teen son is another clue that they maybe intended him to either play younger, or they switched roles at the last minute with Campbell, who would of course have been an amazing leading man.

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It feels like I saw a weird TV edit of this (despite all the blood, boobs and beast still being present). The connective tissue that allows later scenes to have emotional impact isn’t there, like how they just find…the thing they find…on the Moon, and why they need to go to the Moon in the first place, and where that original spaceship came from. It’s curious, because the actual idea of the film is great, the Ancient Astronaut theory used in the most appropriate way, as fiction (because that’s what it is). It’s got a sense of humour, ish, plenty of good looking sets and it’s close to getting it right…it just feels weirdly empty and slightly unfinished. That this film, amazingly, doesn’t follow the “Chekhov’s Gun” law (okay, I know it’s not named after him, but still) isn’t the worst of its crimes.

Perhaps that’s due to this being director Robert Dyke’s first film – he’d wait 11 years before doing another one, “Timequest” (also featuring Bruce Campbell), then another 8 after that before his next, “InAlienable” (“from the mind of Walter Koenig”, according to the poster, as he wrote and starred in it). In post-production right now is “Liquid Red”, starring three of the stars of “Timequest” and next year will see a sequel to “Moontrap”. He’s either a great guy to work for or the people he hires will work for peanuts.

Rating: thumbs down

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