Steve Bond Movies

A maid working for a wealthy family is shocked when her son, who had disappeared years before, suddenly shows up at the home of the family she works for. He moves into her employer's house, where he proceeds to have an affair with the wife. Unbeknownst to him, though, the wife is having an affair with a detective, and they both plot to kill her husband and blame the son. ~ Brian Gusse, Rovi

A substantial improvement on its predecessor, this in-name-only sequel retains only a few characters from the original To Die For, standing alone as an effective vampire tale in its own right. The complex plot revolves around the facilities of vampire Doctor Max (Michael Praed), whose stores of whole blood provide temporary food supplies for wayward bloodsuckers in need of a fix. Into Max's clinic arrives young Danny (Jay Underwood) and his sister Nina (Rosalind Allen), whose adopted baby is suffering from an unknown affliction. While Danny eventually falls under the seductive spell of the translucent-looking Celia (Amanda Wyss), Max's predatory brother Tom (Steve Bond) sets his sights on Nina's unprotected neck, leading to a confrontation with Max over the fate of Nina and her child, revealed to be a human/vampire half-breed, of whom Max is the father. Events are further stirred by the arrival of manic vampire hunter Martin (Scott Jakoby), who is obsessed with destroying them all. This slick and stylish production belies its low budget with technical panache (aside from occasional cost-cutting measures in the special effects department), which includes superb photography, razor-sharp editing, and a script that provides dimension and believable motivations for its characters without skimping on scares. ~ Cavett Binion, Rovi

The never ending battle between good and evil continues as history's most notorious bloodsucker turns up in modern day Los Angeles in director Deran Sarafian's updating of Bram Stoker's timeless tale of terror. He may have a new look and a new life, but when Vlad Tepish arrives on Los Angeles in search of his one true love, an old nemesis vows to put an end to his horrific reign of terror once and for all. With love and death on a collision course that could signal the end of history's greatest villain, the stage is set for a battle that will pit the eternal devotion of a monster against the determination of the man sworn to destroy him. ~ Jason Buchanan, Rovi

In the first episode of a two-part story, the Tanners head to Nevada when "Wake Up, San Fransisco" is booked for a remote broadcast in Lake Tahoe, cohosted by Danny (Bob Saget) and Becky (Lisa Loughlin). Not surprisingly, the various family members get into various misadventures, such as DJ winning a huge amount of money at the casino even though she's legally barred from admittance. As for Jesse (John Stamos), he doesn't like the fact Becky is getting chummy with movie actor Robin Masters (Steve Bond). This of course leads to a heated argument between Jesse and Becky--capped by a surprise proposal of marriage. ~ Hal Erickson, Rovi

Father Joseph Mohr (Steve Bond) comes to stay with the family of Franz Guber (Cyrus Elias) in this romantic costume drama. The region is plagued by the evil Baron Von Seidl (David Warner) who delights in persecuting everyone including his own family. Magdalena (Nastassja Kinski) works at the local inn and falls in love with the unavailable Father Mohr. Janza (Franco Nero) is the insurgent who tries to incite a revolution against the despotic Baron. This drama of unrequited love contains nudity. ~ Dan Pavlides, Rovi

As in several other films with this same theme, six young men and women head out for a hike in the woods, unaware that a crazed killer is on the loose looking for victims. About 30 years earlier, a group of gypsies were burnt to death in a forest fire, except for one small boy. Now the boy, all grown up and physically disfigured by the fire, is out to vent his rage on anyone who enters the forest. With a weak script, no characterizations, and lots of padding featuring wildlife (the animal kind) in the forest, this film might only be noted for the fact that it was one of the last movies in which Jackie Coogan appears. ~ Eleanor Mannikka, Rovi

Not exactly meant for intellectuals or feminists, this juvenile comedy-drama centers around the competition between a decaying, old-fashioned gas station and that of a sleek, modern version across the street. Neither Uncle Joe (Huntz Hall) nor his station are doing well. So niece June (Kirsten Baker) comes to the rescue, enlisting three buxom friends with names like April (Sandy Johnson) and January (Rikki Marin) who help fill out the rest of the calendar year, and occasionally fill up tanks when not disco dancing in the garage. Using the only weapons they have, the young women wear as little as possible to distract the competition, to attract customers, to distract the gangsters sent over to teach them a lesson, and to distract attention away from the script. ~ Eleanor Mannikka, Rovi

Dutch cult director Rene Daalder's fascinating debut was this unfairly neglected and richly idea-laden political allegory set in an American high school. Derrel Maury stars as David, a new student at Central High School who is shocked at the degree of control wielded by several preppie thugs who run the school with an iron fist. Though accepted into this circle given his connections to one of its members, Mark (Andrew Stevens), David loses favor with Mark's friends when he also begins spending time with the school's social outcasts. The worst is still to come, however, when David threatens the pecking order by foiling the thugs' attempted gang rape of a female student and has his leg crushed for his efforts. Eventually, the crippled David politicizes the underclass to fight their oppressors, and all three are killed by falling (from political power, the analogy clearly suggests). Daalder then takes the film in a different direction, with the newly liberated student body becoming an oppressive force themselves, and David enraged to the point of mass murder, deciding to wipe out the entire school. Stirred to action, it is up to the formerly apolitical Mark and Teresa to stop him. Daalder shrinks the entire political spectrum into the crucible of what seems on the surface to be a standard exploitation film. There are representatives of the extreme left, extreme right, disaffected center, intellectual bourgeoisie, and so forth, and all are nicely sketched without sacrificing the film's visceral appeal. Beyond the portraits, however, Daalder also skillfully shows the transitions which occur in many political movements, notably those which start as populist and develop into oppressively hierarchical castes. Perhaps disheartened by the failure of Massacre at Central High at the box office, Daalder did not direct again for nearly two decades, but returned with two more conceptually challenging (if equally unsuccessful) genre films, Hysteria and Habitat, in the mid-'90s. ~ Robert Firsching, Rovi