Michael Berryman Movies

George Pal's final film is a kiddie action saga based on the popular comic strip and action book series by Kenneth Robeson. Ron Ely is all flash and charmless brawn as the blonde-haired superhero Doc Savage, the Man of Bronze. When his father is mysteriously murdered, Savage gathers together five of his cronies -- The Amazing Five -- to head off on an expedition to South America to find some answers. There he battles Captain Seas (Paul Wexler) and "the green death." Along the way, he charms native girl Mona (Pamela Hensley), who immediately falls for the blonde chiselhead. ~ Paul Brenner, All Movie Guide

Horror auteur Wes Craven followed his threadbare but horrifically compelling cult classic Last House on the Left with this wonderfully demented morality fable about a bloody war of attrition between two extremely different families. The story opens on the journey of the Carters, a mildly dysfunctional extended family led by patriarch "Big Bob" Carter (Russ Grieve), as they travel across the California desert in search of an inherited silver mine. When a broken axle leaves them stranded in the middle of a former nuclear testing site, their attempts to find help lead them unwittingly into the territory of a savage family of cave-dwelling cannibals, the apparent progeny of the bearlike Jupiter (James Whitworth) and an abducted prostitute. Jupiter's eldest son Pluto (professional movie weirdo Michael Berryman) leads the first brutal attack on the defenseless Carters who, through necessity, are driven to equally extreme measures in order to survive. Though the film is not overtly bloody, the scenes depicting this confrontation are rendered with an unflinching directness, and the violations visited on the Carters are so brutal as to make the survivors' regression into savagery all the more convincing. No one is spared from the nightmare: Jupiter's boys have even kidnapped the youngest member of the Carter family -- a mere infant -- to serve as fodder for their next barbecue, and the baby becomes the main point of contention between the rival clans. Craven nevertheless refuses to take the easy way out by depicting his "monsters" as soullessly evil; parallels between either family's "values" are clearly drawn as the differences between the two clans begin to blur. ~ Cavett Binion, All Movie Guide

With a cast sure to please cult and horror fans alike, this pseudo-women's-prison film from director Hikmet Avedis is a good bet for genre followers. Pretty Dianne Hull plays Kelly McIntire, a disco bartender who is poisoned as part of a botched murder scheme and sent to a mental hospital. Once there, she is raped by evil orderly Carl (Bo Hopkins), witnesses murders and suicides, and eventually escapes only to be dragged screaming back to the horrors of the fifth floor. Cathey Paine, who played Leslie Van Houten in Helter Skelter, is among the many familiar faces, which also include such horror icons as Robert Englund and Michael Berryman. But the film belongs to Bo Hopkins, who is all smiling menace and who turns in a scary performance and gives the film what force it has, as screenwriter Meyer Dolinsky puts Hull through some rather unconvincing maneuvers in the lead. Still, although there are a number of lapses in logic, they don't detract from the frightening premise that almost any statement or action could be construed as a sign of dementia in the proper circumstances. ~ Robert Firsching, All Movie Guide

This minor made-for-TV effort from horror auteur Wes Craven is one of the oddest attempts at seriously blending supernatural horror and science fiction elements, which amounts to a muddled but amusing failure. The convoluted plot involves scientist Robert Urich's experiments with a new spacesuit designed to detect non-human lifeforms for a proposed expedition to Venus. When a sultry succubus (Susan Lucci, who was born for such a role) begins exerting her demonic influence on the members of a country club -- including Urich's wife and children -- he dons the completed suit for a literal journey into hell itself to rescue them. Craven's skill manages to elevate this loopy premise slightly above the level of pure nonsense, but low production values and the constraints of TV censorship prevent it from being adequately explored. ~ Cavett Binion, All Movie Guide

In this Italian adventure, the deadly drug manufacturing and export operation of a prominent South- American drug czar is discovered by an investigative TV news correspondent and her cameraman who went to the jungle to look into evidence that a notorious, corrupt colonel is still alive. While in the jungles, they encounter hostile natives and other typical dangers. ~ Sandra Brennan, All Movie Guide

John Hughes's third directorial effort, Weird Science, follows in the tradition of his previous teen-centered films, Sixteen Candles and The Breakfast Club. Anthony Michael Hall and Ilan Mitchell-Smith play the wannabe hipster Gary and his nebbish weak-willed best friend, Wyatt, a pair of high-school geeks who are hapless with members of the opposite sex. Using Wyatt's computer, they create what they believe is the ideal woman. A lightning storm brings that woman to life, and she takes the form of Kelly Le Brock. Lisa sets about building their self-confidence, but trouble begins brewing when Wyatt's cruel, military-minded older brother, Chet (Bill Paxton), begins to realize that something is not as it should be. Hughes would finish his cycle of high-school themed films with his next movie, Ferris Bueller's Day Off. ~ Perry Seibert, All Movie Guide

Star Trek IV: The Voyage Home (1986) concludes the story arc begun with Star Trek II: The Wrath of Khan (1982) and continued in Star Trek III: The Search for Spock (1984), but on a wholly new, different, and upbeat note. As the movie opens, months have elapsed since the events in Star Trek III; Admiral Kirk (William Shatner), McCoy (DeForest Kelley), Scott (James Doohan), Sulu (George Takei), Uhura (Nichelle Nichols), and Chekhov (Walter Koenig) are marooned in self-imposed exile on Vulcan, along with the resurrected and regenerated Spock (Leonard Nimoy, who also directed). While Spock tries to sort out the Vulcan and human halves of his resurrected psyche, the others prepare to return to Earth to face a brace of charges by the Klingon Empire and Star Fleet over events on Genesis. Taking off in their commandeered, jerry-rigged Klingon ship, they head to Earth, not knowing that a new crisis could destroy their home world -- a huge, immensely powerful alien probe has entered the galaxy and established a position near Earth, disabling every vehicle and installation in its path with its energy and communication output, and has ionized the entire atmosphere and started vaporizing the oceans, leaving the planet only hours to survive.

Spock determines that the probe is sending out signals to another intelligent terrestrial life form, humpbacked whales, which no longer exist. Using the gravity slingshot time-warp effect (established early in the original series) to travel back into Earth's 20th century, Kirk and company land in 1980s San Francisco to try and bring humpbacked whales to the 23rd century, to respond to the probe. Thus starts a surprisingly breezy, light-hearted, yet serious odyssey through the past (comparable to the best work of the original series), as the crew learns to deal with exact-change buses, angry drivers, punk-rock enthusiasts and other elements of '80s life, and Kirk tries to persuade a scientist (Catherine Hicks) of his good intentions for two whales in captivity. The screenplay, co-authored by Steve Meerson, Peter Krikes, Nicholas Meyer, and Harve Bennett (from a story by Nimoy and Bennett), is the cleverest and most sophisticated of all the Star Trek movie screenplays, recalling some of the elements of Meyer's earlier time-travel movie Time After Time and also anticipating the feel and tone of the series Star Trek: The Next Generation (which would be on the air not quite a year later). Nimoy's direction offers a combination of brisk pacing and a deep love of the characters and the actors, as well as a serious appreciation of the humorous aspects of the script, and Shatner gives his best performance of any of the movies. ~ Bruce Eder, All Movie Guide

When a collection of alien rock stars descend to earth, a young teenage couple finds themselves caught up in an unusual adventure. The film was shelved for quite some time, hence the presence of octogenarian Ruth Gordon, who died in 1985. ~ Iotis Erlewine, All Movie Guide

The professional wrestling world's battling "Barbarian Brothers" are featured as the heroes in this sword-and-sorcery fantasy film. They're out to rescue their lovely queen and retrieve a magic ruby, stolen from them years before. ~ All Movie Guide

The sequel to Saturday the 14th, this horror-comedy traces the adventures of nice-guy teen Eddie Baxter (Jason Presson) as he saves the world from the brink of supernatural destruction. After moving into a decrepit, inherited mansion with his family -- a collection of oddballs who eat nothing but junk food yet cling to a Leave It to Beaver sense of normalcy -- Eddie is the only one to notice the mysterious mists that spill up from the basement and engender odd behavior in everyone but himself and lovable old Gramps (Ray Walston). The entire family, from Eddie's dad (Avery Schreiber) to his freeloading Aunt Alice (Rhonda Aldrich), soon begins conducting late-night chocolate-fudge sculpture classes in the kitchen. Chairs begin eating people, Aunt Alice spouts werewolf-style facial hair, and monsters begin issuing forth from a crack in the basement floor. Soon, a leggy blond vampire named Charlene (Pamela Stonebrook) has taken up residence in the Eddie's room; she tells the boy he's set to inherit the mantle of darkness from a fiend known as The Evil One (Leo V. Gordon) at the stroke of midnight on Saturday the 14th. As signs and portents proliferate, Eddie must decide whether to reject temptation or bask in his newfound powers. Help arrives unexpectedly in the form of Leonard Cavendish (Phil Leeds), Gramps' deceased best friend. Saturday the 14th Strikes Back co-star Avery Schreiber spent much of the '80s being distracted by the hearty crunch of Doritos snack chips in a long-running series of TV commercials. Audiences will remember Ray Walston from his role as Uncle Martin in the '60s TV show My Favorite Martian, while veteran comedy player Phil Leeds would go on to play tooth-obsessed Judge Happy Boyle on the '90s Fox comedy Ally McBeal. ~ Brian J. Dillard, All Movie Guide

Fed up with having to stay in hiding, ALF fantasizes about revealing his presence to the world. In his dreams, ALF serves a guest host on David Letterman's late-night NBC talkfest (replete with typical "Dave-isms"), while the Tanners plan a party celebrating his "emergence." Featured as ALF's TV guests are several of the people to whom he's revealed himself in the past--as well as Sandy Duncan, playing herself. ~ Hal Erickson, All Movie Guide

This documentary about the horror/gore film genre is hosted by actor Michael Berryman. It features clips from various '80s horror films. It also includes interviews with horror filmmakers and actors, including director Wes Craven, Troma Films' head Lloyd Kaufman and noted "scream queen" Linnea Quigley. ~ Brian Gusse, All Movie Guide

An interesting bit of casting enlivens this psycho-thriller set in a California boarding house run by eccentric Karen Black with a rogue's gallery of bizarre tenants and more dark secrets than the Bates Motel. Tenants have a habit of disappearing rather abruptly from this particular residence -- but not without first signing over their Social Security checks to the landlady, netting her a tidy fortune. This leads to the inevitable visit from a federal agent (Arte Johnson), who begins an investigation into Black's shady affairs, and uncovers the true identity of the killer. Despite presenting Black as a blatant red herring from the outset, the filmmakers manage to provide a few interesting twists, though they eventually stray a bit too deeply into Psycho turf. A cast full of familiar faces (including Virginia Mayo, Martine Beswick and Michael Berryman) tends to counterbalance the occasional moments of sleaziness, but there is little originality to distinguish the film from standard slasher fare. ~ Cavett Binion, All Movie Guide