Kane Hodder Movies

Some sources list John Morrissey as director of 9 1/2 Ninjas, while others credit Aaron Worth. There's no confusion, however, as to whom the "one-half" is. That honor goes to leading lady Andee Gray, who joins an all-male Ninja training group. Gray gets a big kick out of her lessons (no pun intended), until she realizes that she's been followed. It seems that a rival contingent of ninjas intends to assassinate her. And that's only one of the many surprises in store for the viewers of 9 1/2 Ninjas; this is no run-of-the-mill chopsocky effort, but a dizzy plunge into near-surrealism. ~ Hal Erickson, Rovi

Produced in the Autumn of the Golan-Globus collaboration, Avenging Force serves as a vehicle for American Ninja costar Michael Dudikoff. Cast as a retired secret service agent, Dudikoff runs up against a sinister right-wing political organization called the Pentangle. He comes to the aid of his best friend Steve James, a black political candidate who has become a target for the Pentangle's henchmen. Impressed by Dudikoff's martial arts skills, the Pentangle leaders try to convince him to join their cause-and to ensure his cooperation, they kidnap his little sister Alison Gereighty. Avenging Force concludes with a violent Enter the Dragon-style mano y mano squareoff between Dudikoff and the Pentangle flunkeys. The film's finale is "open" enough to allow for a sequel, which has yet to appear. ~ Hal Erickson, Rovi

Learning the value of teamwork, the racially diverse U.S. karate team must work through their personal troubles to successfully participate in the upcoming international competition. ~ Kristie Hassen, Rovi

This bleak post-apocalyptic science fiction actioner substitutes a plague instead of a bomb as the reason for civilization's demise but the result is the same -- grizzly motorcycle gangs with a ton of gasoline to burn. In City Limits the older generation has been wiped out by the plague, and the younger generation lives in a state of anarchy in a world controlled by biker gangs. The gangs live by rules discovered in pre-apocalyptic comic books. Two rival biker gangs, the Clippers and the DAs, have taken to dividing up a city amongst themselves and live under a fragile truce. Utilizing a comic-strip version of medieval times, a code has been established for violations of the pact between the gangs -- competitive jousting or acts of reciprocal retaliation. When a person dies, like a post-Holocaust Viking funeral, he is cremated along with his motorcycle. But this shaky peace between the bike gangs is threatened when the fascistic Sunya Corporation attempts to take over the city with the cooperation of the DA bike gang. ~ Paul Brenner, Rovi

A ravenous werewolf (Kane Hodder) is stalking Los Angeles in search of newbie wolf, Josie (Samaire Armstrong), with whom he wants to mate and keep the species going. Detective Steve Turley (Ryan Alosio), one of the few humans hip to werewolves, tries to protect her and several of her friends who are in the werewolf's way. But for a few, their erotic nude photography session ends badly when the werewolf finds out where they are. How will Turley keep the wolf at bay? Hey, what are these silver bullets...? ~ Buzz McClain, Rovi

Friday the 13th mainstay Kane Hodder stars as the true-life serial killer whose unspeakable atrocities inspired such classic horror films as Psycho and The Texas Chainsaw Massacre in director Michael Feifer's disturbing frightener. Rural Wisconsin was a quiet place until the man they called "The Butcher of Plainfield" began his rapid descent into madness. In the months that followed mysterious murders and a series of shocking grave robberies would make headlines all across the country. With this film, fans can finally find out just what it was that transformed a timid, child-like farmer into one of the most abhorrent figures on the annals of American crime. ~ Jason Buchanan, Rovi

Deadbeat dads be damned. Patrick Swayze plays a con man who tries to live up to the ideals of "family values" by kidnapping his son and daughter from the evil clutches of a corrupt orphanage and taking them on a cross-country trip in his vintage convertible. To complicate matters, his daughter has been sexually molested by the head of the orphanage, who fears that she may prosecute if given the opportunity. This family drama is also a zany road movie as the re-united father and children flee the police on a quest to restore their family. ~ Laura Abraham, Rovi

The worst in a string of increasingly pointless sequels to Sean S. Cunningham's crude slasher hit, this installment provided clear evidence that the "slasher" subgenre, already creatively dead, was no longer financially viable. This time around, unstoppable supernatural thug Jason Voorhees -- imprisoned at the bottom of a lake by his telekinetic foe Tina in the previous film -- is reanimated yet again after being goosed by an underwater electrical cable, freeing him to stow away aboard a shipload of standard-issue obnoxious teenagers en route to Manhattan. The title ultimately proves a bit of a cheat, since the majority of Jason's homicidal hijinks take place aboard the ship until the film's final reel, during which he pursues a handful of survivors through the streets of the Big Apple. Thanks to heavy MPAA cuts, the mayhem is more subdued here than in any other films of the series -- splatter fans primed by the previous chapters' copious bloodletting will be left high and dry. Despite a very amusing "teaser" trailer that suggested that the film might be a semi-parody, writer/director Rob Hedden and company play things tediously straight. ~ Cavett Binion, Rovi

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, 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 mild box-office hit for New World Pictures, this lightweight attempt at horror parody from Friday the 13th producer Sean S. Cunningham stars former Greatest American Hero William Katt as a best-selling pop-horror novelist Roger Cobb (à la Stephen King) who suffers an insurmountable case of writer's block after separation from his soap-star wife (Kay Lenz) and the disappearance of their young son. Hoping to purge his personal demons by writing his Vietnam War memoirs, he moves into the massive mansion once occupied by his deceased aunt (who hanged herself in her bedroom), and finds himself surrounded by demons of a completely different kind. Roger takes the weirdness in stride, attempting to face down marauding monsters, interdimensional trap doors, and other supernatural horrors while concealing his predicament from the neighbors (except for the befuddled Harold Gorton [George Wendt], who tries gamely to play along with Roger's hare-brained monster-fighting schemes). ~ Cavett Binion, Rovi

After two unsuccessful attempts to turn the House horror franchise into a collection of unrelated haunted-house stories (even ditching the House moniker prior to distribution of the third film, The Horror Show), the producers opted for a direct sequel (more or less) to the first film in the series. William Katt returns briefly for the role of Roger Cobb, the former beleaguered owner of a nightmarish fixer-upper filled to the brim with obnoxious demons. His part here amounts to little more than a cameo -- early in the film, Roger is killed in a nasty auto accident during a vacation with his new wife, Kelly (Terri Treas), and their 12-year-old daughter, Laurel (Melissa Clayton). Kelly and Laurel -- who is now confined to a wheelchair -- try to begin their lives again at the family's summer house. Once there, Kelly is visited by visions of horrific events (including Roger's death) which become more frequent until she is forced to seek the aid of a shaman, who helps her to interpret them. The visions include a replay of the events which led to Roger's death, indicating that the crash was no accident -- and revealing the identity of the party responsible. This installment marks a slightly more effective return to the horror comedy formula that made the original a surprise hit. Basically a distaff retread of that film, House IV benefits from its strong female heroine and more emotional involvement for the leads amid the barrage of slimy effects and over-the-top humor. ~ Cavett Binion, Rovi

Popular bogeymen Jason Voorhees terrorizes a group of nubile astronauts five centuries into the future in this sci-fi update of the Friday the 13th franchise. Early in the 21st century, Jason (actor/stunt man Kane Hoddar, filling the role for a fourth time) is experimented upon by army technocrats who hope to turn his supernatural invulnerability into a military application. Most of them meet a swift and bloody end -- except Rowan (Lexa Doig), a beautiful functionary, who traps the killer in a cryogenic stasis chamber. Unfortunately, she takes a machete blow in the process, gets frozen herself, and wakes up on a spaceship in the year 2455. The earth has long since been rendered uninhabitable, but the survivors include a group of archaeological students headed by Professor Lowe (Jonathan Potts), who hopes to make a quick buck by selling the corpse of the historical serial killer. The kids re-animate Rowan with the help of nanotechnology. Little do they know that a mere thaw job is enough to resuscitate Jason and reawaken his bloodthirst. Soon, the comely students and their space-marine protectors are being dispatched one by one. Help arrives in the form of a holographic chamber and an android named Kay-Em 14 (Lisa Ryder). Soon, though, Jason himself gets an upgrade -- just as the spaceship is getting ready to self-destruct. The tenth installment in the long-running horror series, Jason X was the first new entry to appear in almost a decade. In fact, the previous film, 1993's Jason Goes to Hell: The Final Friday, was one of two installments whose titles erroneously contained the word "final." ~ Brian J. Dillard, Rovi