John Carl Buechler Movies

A handful of college students looking for a good time are thrown into a world of danger in this homage to the slasher film cycle of the 1970s and '80s. Ben (Joel David Moore) has just been given his walking papers by his girlfriend and is deeply depressed. Needing a pick-me-up, Ben and his friend Marcus (Deon Richmond) head to New Orleans for Mardi Gras, and take in a "Haunted Swamp Tour," with master of ceremonies Shawn (Parry Shen) guiding guests through a spooky patch of bayou country. Along the way, Ben and Marcus meet a pair of half-bright exotic dancers, Misty (Mercedes McNab) and Jenna (Joleigh Fioreavanti), as well as Marybeth (Tamara Feldman), a pretty girl who is secretive about her past. As they tour the swamp, Shawn tells his customers about the local legend of Victor Crowley, a deformed man who was taunted by the other children living near the swamp until he was nearly bludgeoned with an axe by his father while trying to open the door of their burning shack. While Ben and Marcus don't think much of the story at first, it doesn't take long before they have serious reason to believe Victor Crowley is still at large -- and is looking to settle some old scores. Hatchet received its world premiere at the 2006 Tribeca Film Festival. ~ Mark Deming, All Movie Guide

John Buechler's horror film Ice Crawlers begins with a team of scientists getting information in the Arctic. Their actions awaken some nasty creatures that have been lying dormant for centuries. Now, they are hunting the scientists down one at a time. ~ Perry Seibert, All Movie Guide

A gaggle of young adults discovers a cache of gold in an abandoned mine. Little do they realize that the vengeful ghost of the long-dead miner (Vernon Wells) protects the hoard with a gaffing hook, pick axe, and shovel, despite the efforts of the sheriff (John Phillip Law) and zany Aunt Nelly (Karen Black). ~ Buzz McClain, All Movie Guide

In this postmodern exploitation flick loosely based on "Little Red Riding Hood," the uneducated daughter of a drug-addicted prostitute flees the foster-care system in search of her long-lost grandmother but meets up instead with a serial killer. Vanessa (Reese Witherspoon), a nearly illiterate firebug and serial shoplifter, desperately clings to normalcy even though her mother turns tricks, does drugs, and manages to ignore the fact that the girl's stepfather Michael T. Weiss has been abusing her for years. When both of her parents get arrested, Vanessa steals the car of her family-services caseworker (Conchata Ferrell) and heads up Interstate 5 in search of her paternal grandmother, who's never met her. Car problems force her to accept a ride from Bob Wolverton (Kiefer Sutherland), a youth counselor who uses charm and sympathy to get the girl to open up. Confessing the sordid details of her childhood to Bob, Vanessa is shocked when he suddenly declares that she's one of the "garbage people" and that he plans to murder her and have sex with her corpse. Bob, it turns out, is the "I-5 Murderer," who's been slaughtering young prostitutes in the Los Angeles area. Thanks to a gun borrowed from her fiancé, Vanessa manages to turn the tables on Bob, shooting him repeatedly and leaving him for dead. He survives, Vanessa is arrested, and the two meet up again in court -- with her unrepentant, even though the police disbelieve her story, him flanked by his prim wife (Brooke Shields) and the righteous indignation of the American legal system. Locked up in the juvie for psychological evaluation, Vanessa gets in touch with her wild side and eventually escapes, heading off to her fateful meeting with grandma. Although Freeway was originally filmed for HBO, vigorously positive critical response eventually earned it a theatrical release. Alanna Ubach, who portrays Vanessa's nemesis/accomplice Mesquita, would go on to appear with Witherspoon in Legally Blonde. Freeway also features two Clueless alumni: Dan Hedaya, as a police detective, and Brittany Murphy, as the disfigured lesbian who befriends Vanessa in lock-up. Michael T. Weiss, who previously appeared in gay indie Jeffrey, appears in both Freeway and its sequel, Freeway 2: Confessions of a Trickbaby. ~ Brian J. Dillard, All Movie Guide

Picking up six years after the events of Halloween 5: The Revenge of Michael Myers, this competently produced but ultimately disappointing sequel attempts to tie up the uneven horror series' loose ends with a less-than-convincing resolution. This installment opens with Jamie Lloyd (J.C. Brandy), young niece of supernatural psycho-killer Michael Myers, giving birth on an altar amid a mysterious Druid ceremony. Before she is killed by her monstrous uncle, Jamie manages to leave her baby in the care of young Tommy Doyle (Paul Rudd), who has pursued a lifelong obsession with the horrific Myers family legacy in the town of Haddonfield, Illinois. Living with members of the Strode family, Tommy comes to suspect that one of them, little Danny Strode (Devin Gardner), is cursed with the same malevolent power that drove Michael to murder several members of his family. When Michael arrives in Haddonfield to find and destroy Jamie's baby, Tommy joins forces with Dr. Sam Loomis (Donald Pleasence), Michael's ex-psychiatrist and a life-long crusader against his sinister former patient, to find the connection between Michael and the Man in Black and end the curse once and for all. Released shortly after Pleasence's death, this confusing, horribly-edited blend of tired slasher clichés and X-Files-inspired subplots is a poor testament to the long career of the distinguished and compelling character actor. ~ Cavett Binion, All Movie Guide

Though representing a slight step upward in budget from the previous two Ghoulies installments, this is still a rather silly exercise in childish fart jokes and rubbery monster effects. The title critters are mini-demons summoned forth from a demonic chamber pot (seriously!) by the occult-obsessed Dean of Glazier University. However, the ancient vessel is currently being used by the Beta Theta Zeta fraternity for a more (ahem) practical purpose. The ghoulies eventually cut loose on campus, and the surrounding frat-boy bacchanalia seems to have made them even more obnoxious than usual. The creatures' Satanic antics are first thought to be creative Hell Week pranks, but they are eventually discovered and defeated by the nominal hero and heroine. One of Vestron's last productions before the company went belly-up, this languished in distribution limbo for several years. ~ Cavett Binion, All Movie Guide

An early, derivative effort from Charles Band's incredibly prolific direct-to-video outfit Full Moon Productions, this is an undercooked stew of a dozen horror plots, particularly Child's Play and Night of the Living Dead. A tough lady-cop (Tracy Scoggins) is forced to curtail her task of collaring a pair of sleazy gun-smugglers in an abandoned toy warehouse when the toys suddenly spring to life at the command of a murderous demon-child. While the policewoman tries vainly to organize the hapless humans trapped in the warehouse (pudgy rent-a-cop, transient, chicken delivery boy), the possessed playthings move in for the kill. The silly proceedings are helped along by whirlwind editing, the attractive, butt-kicking Scoggins, and a colorful assortment of monsters -- including a fanged jack-in-the-box, a laser-shooting robot, a ferocious teddy bear and the potty-mouthed "Baby Oopsy-Daisy." Though pretty slick overall, the entire exercise is flattened by the script's dreadful attempts at humor -- particularly from the demon himself, whose stupid Freddy Krueger-isms are like nails on a blackboard. ~ Cavett Binion, All Movie Guide

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, All Movie Guide

This interesting fusion of the horror and Western genres involves a modern-day sheriff (Franc Luz) whose search for a missing heiress leads him into the title locale, a frontier-age Arizona township whose residents are cursed with immortality. He eventually discovers that the abductee (Catherine Hickland) has been spirited off to the lair of an evil black-clad gunslinger (Jimmie F. Skaggs), who sees her as the reincarnation of the dance-hall girl he murdered a hundred years before. Excellent photography by Mac Ahlberg and a gritty Sergio Leone-inspired ambience lend a great deal of quality to this otherwise mundane production from Charles Band's outfit, which is saddled with a weak script that fails to put its unique concept to adequate use. ~ Cavett Binion, All Movie Guide

This pedantic sequel to Empire Pictures' less-than-original Ghoulies was released directly to video and summarily slipped into oblivion. At the outset of this one, the title creatures -- rubbery puppets originally conceived as cut-rate Gremlins lookalikes -- are shanghaied by a priest who intends to exterminate them, but they manage to escape to a low-rent carnival. There they take up residence in "Satan's Den," a foundering, old-fashioned haunted house attraction run by Royal Dano, who fears he may lose ownership of the show due to sagging attendance. The presence of the ghoulies at first gives business a much-needed boost ... until the slimy little buggers start dining on the patrons. Despite some enhancements in the lackluster monster effects (by John Buechler, who's done better work elsewhere) and clever stop-motion animation by David Allen, this film is just as pointless as its predecessor. There is, however, one memorable scene, which makes good on the promise of the first film's ad campaign -- which featured one of the reptilian critters leaping from a toilet bowl, accompanied by the tagline "They'll get you in the end!" ~ Cavett Binion, All Movie Guide

A quaint, stagebound little horror film from Charles Band's Empire Pictures, Cellar Dweller stars Jeffrey Combs (fresh off his glorious turn as Herbert West in the Empire-produced Re-Animator) as a '50s horror-comic artist who falls prey to one of his own creations -- a ferocious demon he based on a drawing from an arcane book of spells and curses. The story picks up again in the 1980's, where the late artist's palatial home has been converted into a combination boarding house and art academy led by Yvonne De Carlo. One of the students pursues her obsession with reviving the "Cellar Dweller" comic series herself, delving into Combs' old studio for inspiration, and eventually discovers the same occult manuscript secreted in the basement. History repeats itself (naturally) and the creature emerges to stalk and maul anew. This admittedly cool concept and the rather effective monster are dampened a bit by a flippant, tongue-in-cheek attitude (a more ominous, Lovecraftian tone would have been more effective), but makeup-man-turned-director John Buechler shows a definite flair for imbuing his beast with a suitably sinister personality. Observant fans of Charles Band's body of work (yes, they do exist) should spot the numerous visual references to other Band films. ~ Cavett Binion, All Movie Guide