John Carl Buechler Movies

One of the more popular features from Roger Corman's "B"-factory Concorde/New Horizons, Carnosaur perpetuates the grand Corman tradition of zeroing in on a big-budget Hollywood studio moneymaker, then dashing off a quick-and-dirty poor man's version before moss gets a chance to grow on the larger film's concept. This bargain-basement spin on Jurassic Park was actually based on a novel by John Brosnan (under the pseudonym Harry Adam Knight). It features Diane Ladd (whose daughter Laura Dern took the high road on Spielberg's film) as a kooky mad scientist whose experiments on human and dinosaur DNA result in dual disasters -- first, a rubbery midget Tyrannosaurus bred from dinosaur and chicken DNA (imagine the barbecue potential!) which escapes the lab and goes on the requisite bloody rampage; and second, a specially-engineered virus with the ability to replace human beings with dino-babies. Although this exploitation quickie doesn't waste too much time delivering the standard Corman cargo (blood and breasts), the mayhem is too often derailed by endless genetic techno-babble from Ladd, whose freaked-out performance is the film's sole plus. The downbeat ending is pure '80s, and paves the way for the inevitable sequels. ~ Cavett Binion, Rovi

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, Rovi

Young Judy Bower (Carrie Lorraine) is spending the summer with her stupid, abusive father, David (Ian Williams), and nasty stepmother, Rosemary (Carolyn Purdy-Gordon). On a dark and stormy night, their car breaks down on a lonely road in the woods and they are forced to seek shelter. As they walk, Rosemary throws Judy's beloved teddy bear into the woods, and the imaginative child envisions it coming to life as a great fanged beast which slaughters her tormentors. The idea of loyal toys protecting their young owners from the ravages of the adult world is forcefully made, and imbues the rest of the film. They come upon a creepy old house owned by elderly Gabriel Hartwick (Guy Rolfe) and his wife, Hilary (Hilary Mason). Gabriel is a doll-maker and dazzles Judy with his collection of exquisitely detailed creations. Another car breaks down in the storm as well, bearing amiable Ralph Morris and two trampy hitchhikers. What they and the Bowers don't know is that the dolls are alive, and protect the young (Judy) and the young at heart (Ralph) from the evils of adulthood. ~ Robert Firsching, Rovi

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, Rovi

The production team responsible for the twisted cult classic Re-Animator -- including director Stuart Gordon and producer Brian Yuzna -- returned the following year with this equally depraved (perhaps more so) follow-up, based once again (and very loosely) on the pulp-horror fiction of H.P. Lovecraft. Also returning to the fray is Jeffrey Combs, here playing the mild-mannered Crawford Tillinghast, apprentice to the dangerously obsessed Dr. Pretorious (Ted Sorel) and co-inventor of an enigmatic and ominous-looking device known as "The Resonator" -- a machine designed to stimulate the vestigial sensory apparatus contained within the human pineal gland. Such stimulation allows participants to "see" the slimy creatures which occupy a dimension parallel to our own, but with some chilling side effects -- the first of which being that the interdimensional vision works both ways. When a powerful sentient force devours Pretorious and assumes his consciousness, Tillinghast panics and destroys the Resonator -- soon to find himself in a padded cell, accused of his mentor's murder. Called to the case are Dr. McMichaels (Barbara Crampton, another Re-Animator alum) and amiable cop Bubba Brownlee (Dawn of the Dead's Ken Foree), who escort Tillinghast back to the shattered laboratory in an attempt to corroborate his deranged account by re-creating the experiment. Their attempts are all too successful, and the Pretorious-thing emerges to take control of the reactivated Resonator and draw the others into its hideous realm. Also called forth are the participants' darkest sexual desires -- another interesting by-product of pineal stimulation -- and, in Tillinghast's case, an uncontrollable urge to devour human brains. Just when it seems it can't get any weirder...it does. Gordon explores this demented scenario with relish, allowing nearly every scene to go completely over the top into surreal mayhem while retaining the dark brooding sense of menace characteristic of Lovecraft's work. (It's not likely, however, that the author's dignified upbringing would have explored the psychosexual dimensions of the premise -- at least not in the kind of detail seen here.) All manners of perversities abound, accompanied by the wizardry of four dueling special-effects studios and the rich, creepy score by Richard H. Band, bringing the film to a literally explosive climax and a chillingly poetic final shot. ~ Cavett Binion, Rovi

Joe Dante's box-office fantasy Gremlins had barely left American cinemas before Charles Band's B-movie factory, Empire Pictures, rushed out this cheap knockoff. While Dante's film benefited from the director's wry sense of humor and the high-concept clout of executive producer Steven Spielberg, Band's tawdry little creature feature boasts lower production values than a high-school haunted-house fundraiser. The title monsters are a pack of obnoxious demons -- enacted by a handful of rubber dolls covered with KY jelly -- summoned up by the metaphysical shenanigans of college student Jonathan Graves (Peter Liapis) after he discovers his late father's occult paraphernalia at the family estate. Jonathan later invites a group of annoying friends to participate in an all-night party, during which he intends to perform an elaborate parlor trick -- actually a satanic ritual through which he hopes to acquire his father's supernatural powers. This doesn't sit well with Dad, who bursts violently from his grave (a nice touch) to have a chat with his wayward son while legions of ghoulies (well, four or five, anyway) descend upon the revelers. Considering the entire production revolves around the antics of the ghoulies themselves, the alleged puppetry involved is laughable -- the inarticulate puppets do little more than open drooling mouths full of pointy teeth before offscreen stagehands fling them at the heads of cast members. The film's main points of interest lie with the supporting cast, which includes Bobbi Bresee as a supernatural seductress (sporting an eight-foot tongue!) and Eraserhead's John Nance as a bizarre gardener. Somehow, this became one of Empire's top moneymakers, spawning no less than three sequels. ~ Cavett Binion, Rovi

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, Rovi

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, IL. 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, Rovi

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, Rovi

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, Rovi

Herbert West (Jeffrey Combs) is a brilliant medical student who has perfected a green-glowing serum for regenerating life into dead things -- or even parts of dead things. But a corrupt superior, Dr. Carl Hill (David Gale), assumes control of West's experiments and winds up, by ghastly necessity, using the stuff on his own severed head and body. West and in-over-his-head co-worker Dan Cain (Bruce Abbott) struggle to control the now out-of-control effects of the serum, but the bone-saws and zombies complicate their plans. ~ Buzz McClain, 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