Insemination EVILS in “Bigfoot: Blood Trap” reviewed!

Posted by Steven Lewis on September 10, 2019

The folkloric Bigfoot goes bananas on one man’s family, killing his wife and young daughter before leaving him crippled. Years later, the same beast rips the guts out of two tattooed women filming a girl-on-girl romp in the middle of the woods after mistakingly gunning down Littlefoot with their accompanying high powered rifles. Meanwhile, gun store owner, Shannon, receives news that’s she’s inherited land from her estranged, molesting grandfather that could be worth a small fortune. Before opting to sell the land, Shannon, her brother Billy, and her two uncles, Bob and Chester, aim to have a good old fashion hunt, but are viciously attacked by the monster. Barely surviving the ordeal, they managed to capture the creature with a tranquilizer gun and phone in an eccentric cryptozoologist, Dr. Corman, who presents a radical proposition: To prove his missing link genome theory, he wants to conclude that Bigfoot can, in fact, inseminate a human female to produce an offspring. Though crazed and inhumane, the wild idea could bring in loads of capital from all sorts of scientific angles, but the greedy captors soon learn that’ll it’ll take more than a pretty face to get the legendary and mysterious Bigfoot into the proper mood for lovemaking!

With the exception of a few films, the lesser known Sasquatchsploitation genre has been more schlocky exploitation than of Bigfoot doing some serious rampaging. Critics from around all outlets, small and big, have mercilessly dumped upon the hairy big fella, calling the flicks stinky as much as reeking Bigfoot in it’s natural habitat. Unfortunately, “Bigfoot: Blood Trap” sustains the same fodder and, perhaps, evens lowers the bar even further. Despite claims of the satirical motivations and plenty passion for the project, the John Orrichio directed film released in 2017 is a bit of giant mess. The New Jersey based Orrichio (“Paranormal Captivity”) collaborates with Edward X. Young, who was thrusted into scandalous controversy with this film as he was then an active candidate for a member on the New Township Board of Education. Safe to say, a storyline involving young women being kidnapped for rape and insemination didn’t go over well with parents, but Young and Orrichio sallied-forth to bring us a plot about an abomination from the abominable.

As aforementioned, Edward X. Young steps into the role of a creepy cryptologist named Dr. Corman whose obsessed with impregnating an abducted, innocent young women. With extensive credits in no-budget horror, including “Mold!” and themed holiday slasher “Easter Sunday,” Young is highly enthusiastic about his part, being one of the main fixtures of the overhauled production, evening tackling the special effects rich with blood soaked intestines. Another lasting cast member is “The Soulless” actor John McCormack as uncle Chester. Rustic as as he is rusty, McCormack bulldozers through his lines, never letting emotions and inflections carry his performance to fruition. Playing Chester’s nephew, Billy, is “Bloody Christmas’s” Dennis Carter Jr. With turbo energy and a high, if not zany, voice, Carter blossoms more of the satire from hiding, especially when contrasted against his sister, a gun-toting, possessive, money grubber named Shannon played by Chrissy Laboy (“Long Island Serial Killer”). Young, McCormack, Laboy, and Carter are the staple four that have the most scenes, but since the production spanned over the course of years, main characters came and went like yesterday’s bagel, introducing other characters into the fold from a supporting cast that included K.J. Hopkins (“Witches Blood”), Richard Szulborski (“Paranormal Captivity”), Gregory Stokes, and John D. Harris Jr.

As much as one can open their mind to all types of movies, across a vast spectrum of genres, sitting through “Bigfoot: Blood Trap” tested patience, will, and interests. The over-the-top gore, with strewn organs being, sometimes awfully blatantly, ripped from the bellies of Bigfoot victims did not turn heads away in disgust. The problem is more insidious with sloppy, shoddy technical gaffes with a brain seizing storyboard and choppy editing topping the lineup. Performances eek by without much scathing and one could even look past the joker in the “Trading Spaces” monkey suit passing as a vicious Bigfoot, but the lack post-production effort, especially with such a lengthy shoot, kinda says, “Hey! Let’s wrap this up! “Pronto!” and carry on with our lives without batting an eyelash in attempting at beautifying a hunk of ho-hum creature feature, but there is one positive thing about “Bigfoot: Blood Trap,” Orrichio manages to pull off 95 minutes in a sex with Bigfoot bonanza and I’m sure nobody else can claim that title.

“Bigfoot: Blood Trap” is released onto DVD home video courteous of Wild Eye Releasing on their Raw & Extreme label. The DVD is presented in a widescreen, 1.78:1 aspect ratio, that often looks stretched over a canvas with plenty of digital noise and low lighting woes. Colors look okay and same can be said for skin tones. There’s hardly any tinting so all, if not most, scenes are in natural lighting. Some lens cleaning wouldn’t hurt either on the drone for ariel shots. The English language stereo 2.0 lossy mix has hard stops when regarding quality. Swelling vocal tracks lack fidelity gusto and wander into the crackling territories often associated with poor mic placement or an unfinished track mix. Dialogue also comes and go from the forefront to the background. Bonus features include a production interviews, which are basically actors introducing themselves and being advocates for their characters. Also included is a segment entitled “Andy Girffith,” where little foot and Bigfoot reenact that rememberable son and father walk with a fishing rod with whistling that recognizable and catchy thematic tune. “Killing the Girls” is a true behind-the-scenes look into two of Bigfoot’s potential unwilling mates meeting their ends at the monstrous hands of the hairy beast; it’s a glimpse of Edward X. Young, wearing his special effects technician hat, gooey up the gore on the girls as the act out their best scream queen impersonations. Rounding out the extras is a music video and trailers. From the Wild Eye Raw & Extreme’s snarling, bloodied-teeth, Bigfoot faced DVD cover, high hopes created a false foundation leading into a John Orrichio’s Sasquatch breeding farm film! Yet, no matter how enthusiastic the cast, “Bigfoot: Blood Trap” unsavory independent charisma snared time that we’ll never get back into our precious lives ever again.

Own this Raw & Extreme film today!

The Only Way EVIL Would Go Out With a Virgin! “Double Date” review!

Posted by Steven Lewis on September 3, 2019

Recently dumped and severely panicked around women, the prospect of ever dating again seems like a long shot to Jim. Self-assured Alex sees the opposite for his best mate as a golden opportunity for him to get Jim laid before his 30th birthday. When Alex finally coerces and assists Jim on scoring a double date with two sisters, Jim can’t believe his stuttering awkwardness actually proved fruitful, but little do Jim and Alex know that the sisters, Kitty and Lulu, are out for blood. The sisters seek a virgin to sacrifice to bring their long deceased father back from the dead and to complete their trio-family once again at the expense of Jim’s involuntary celibate lifestyle. Night clubs, fast cars, and visits to the parents take the four through a series of dark and drug fueled misadventures and the unexpected moment of falling love that makes this double date one to die for!

First dates are always inherently frightening. The idea of being alone with a stranger, who you’re kind of attractive to and trying to impress, yet don’t really know a single thing about them, can be daunting, if not paralyzing. First date in a double date is supposed to ease that overwhelming fear and take the strain off from the lack of possible interest in the other person, but for director Benjamin Barfoot’s amusing horror-comedy, “Double Date,” all bets are off and all tensions are on edge when dating goal sights are deadly different. Danny Morgan pens a comedic gem in which he stars as the bumbling virgin, Jim, joining his long time collaborating partner, Barfoot, to complete their first feature film together. The British made and produced film gives glimpses of London’s fung shui through the pubs, clubs, and overall eclectic nightlife to the aristocratic mansion homes to the likes of “Downton Abbey” resulting in a slight blend of the past and present into a well-oiled story embodied with terror and fun.

Funny man Danny Morgan stars as the awkward and blundering Jim whose plagued with fumbling qualities around women that usually leaves him somewhere in the inner circle of the friend zone. Morgan brilliant showcases Jim’s stunting inadequacies that eventually come to flower while maintaining a solid naturally slapstick presence of self-deprecation that turns into a full-blown bull in a china shop. The scene with his parents and himself singing his birthday song in front Lulu in audience, while tripping on drugs, is cathartically enjoyable and a riot of inner laughter. Morgan’s joined by “Being Human” actor, Michael Socha, as Jim’s very good friend, but all talk confident friend, Alex. Alex is certainly the yang to Jim’s yin on screen and off screen as Morgan and Socha have a certifiably fresh dynamic that makes them very entertaining to digest. Socha brings a different kind of comical energy that compliments Morgan’s dry humor that diversifies the content. In fact, all the characters bring a little something different to the table, such as with the sisters, Kitty and Lulu, played respectively by Kelly Wenham (“Dracula: The Dark Prince”) and Georgia Groome (“The Cottage”). Training like an elite athlete, Wenham takes the role to heart being a dark and beautiful villain that’s inarguably alluring as she’s cold and deadly. The Cheshire born actress, whom hands down can be the next Megan Fox, sinks her teeth into the performance and excels in the physical role that’s showcases her range of talent. Then, there’s Georgie Groome as Lulu, the timid opposite of Kitty. Also known as the girlfriend of Harry Potter’s Rupert Grint, she nails being the one in the shadows, relinquishing control mostly to Wenham for most of the film, and then slowly build character confidence and strength.

“Double Date” is a great blend of horror and comedy. The climax has this satirical and retro quality about that seems unfitting, but is stitched carefully to fit without bursting and popping a seam (or scene?) to the point of overly obtrusive. Benjamin Barfoot also has a keen eye to capture the pivotal and incandescent moments that make scenarios have more an impact, whether that being a facial expression, an awkward dance, or any kind of verbal or action exchange between characters. Doesn’t hurt that Barfoot’s rapport with Danny Morgan is a relationship riding the same director-actor level plane, similar to the dynamics between Adam McKay and Will Ferrell, with a synonymous cerebral synergy that clicks well for the silver screen.

From the independent film company who delivered “The Man Who Killed Hitler and then the Bigfoot,” Sparky Pictures releases the Screen International/FrighFest awarding winning horror-comedy, “Double Date”, onto digital, DVD, and Blu-ray come September 9th in the United Kingdom. Unfortunately, an in-depth review of the video and audio specifications will not be covered as a BD screener disc was provided, but what can be said about the soundtrack, performed by GOAT, is pure primitive gold and the appearance by Big Narstie is equally solid. Bonus material, on this check disc, included an extensive behind-the-scenes, from conception to wrap, of Danny Morgan and Benjamin Barfoot’s roller-coasting adventure on getting their film made. There’s also a commentary with cast and crew, deleted scenes, photo gallery, and trailers. “Double Date” is a true black comedy and a whole lot of fun that should skyrocket filmmakers Danny Morgan and Benjamin Barfoot toward future endeavors as a rising, powerhouse duo, contending to be the next hit in the satirical category.

Amazon has Double Date! Own it today!

EVIL is in the Eye of the Beholder! “Perception” reviewed!

Posted by Steven Lewis on August 26, 2019

When developer project manager Daniel, on the verge of a lucrative deal in flattening an old rental property , meets Nina, a clairvoyant who rents space on the property, an mystifying, and on the house, psychic reading opens up old wounds of Daniel’s previous life involving the death of his beloved artist wife, Maggie. The successful developer becomes frantically obsessed with reaching Maggie from the other side, believing he is paying Nina handsomely to be a vessel conduit, but as a single mother on the verge of losing everything, Nina exploits Daniel’s fixation on the past that’s more dangerous than initially presumed. Daniel and Nina become sexually and spiritually entangled on two false pretense fronts while behind the scenes, a malevolent presence orchestrates a sinister campaign of perverse revenge.

In her fiction feature film debut, Ilana Rein writes and directs “Perception,” a 2018 suspense thriller aimed unsheathe and reactivate the agonizing secrets and those who reap the benefits from them. Rein, who previously helmed documentaries that includes the award winning Battlestar Galatica fandom documentary, “We Are All Cyclons, pivots from non-fiction into creative invention alongside producer and writing partner Brian Smith. “Perception” tackles various themes from severe mental illness, to dangerous obsession, to how we initially and naively perceive individuals without knowing exactly who they really are, especially when they’re in the white collar, high dollar, social category. Rein focuses on rooting out psychotic and sociopathic qualities through the power of flashbacks while chucking in a scornful spirit into the background for good climatic measure.

“Perception” perceives hard bodies and chiseled faces over a few recognizable ones, which typically isn’t a bad aspect of filmmaking but may not draw a wide viewership. Though in the entertainment industry for some time, Wes Ramsey is one of those fresh faces, headlining as Daniel, the successful developer with an unhealthy mania for his deceased wife. Ramsey has seen more roles in television than in feature films, but the “Brotherhood of Blood” and “Dracula’s Guest” actor pockets horror theatrics here and there and uses his tall, dark, and handsome charm to be a good source for Daniel as the presumptuous, if not stereotypical, good guy. Opposite Ramsey is Meera Rohit Kumbhani, an Indian American actress with beautiful big and round eyes, to star as the clairvoyant Nina. Kumbhani has solid onscreen sincerity and a sexiness to match, but as Ninia’s has a principle crises, Kumbhani is able to sell practically a RickRolls performance that fools us all as uncertainty clouds judgement about her ethics when it’s whether to exploit a desperate widow or pay for her troubled young son’s educational necessities. Together, Ramsey and Kumbhani contently compliment each other’s performances and when you mixed the specter playing Chaitlin Mehner in flashback sequences, an out-of-body love triangle experience ensues. Rounding out the cast is Max Jenkins, J Ro, Vee Kumari, and J. Barrett Cooper as the only face I recognize more recently from Nathan Thomas Millinar’s “A Wish for the Dead.”

The depth of the story, especially with main characters Daniel and Nina, really hinders judgement on the outputted result. Not enough vivid and harrowing memories of Daniel and Maggie’s rocky relationship stir very little toward a stroppy receipt for disaster. Their coupling went from casual to 120 mph in two scenes flat never laying down a sturdy foundation on why viewers should put stock into their story if there’s no stock to really sell. Same can be said for Nina and her son’s simmering obtuse relationship where Nina believes all is hunky-dory, despite her son’s suddenly mute stature, and her unmotherly attentiveness to his disturbingly illustrated clues to his inner demons. Stronger supporting characters saw through the boy’s facade, such as Nina’s friend J Ro (who plays himself, by the way) and her mother; both of whom are on the polar opposite sides of the clairvoyant spectrum. Those underwhelming characters flaws suck the energy out from the main arteries in Daniel and Nina’s carnal exploits and meddling to thwart the very fiber of “Perception’s” thrilling suspense.

Ilana Rein’s “Perception” comes to DVD home video courtesy of Gravitas Ventures and presented into a widescreen, 16:9 aspect ration. Image quality is obvious clean as with all digitally shot, yet the hues are a slightly warm, favoring more of a yellowish tint into every scene, and while maintaining solid definition, some scenes bask in a softer glow at times. Stylistically, not much to report as the film follows conventional strides. The English language 5.1 surround sound has strong, dialogue favoring, and balanced with depth and range. There is also a dual channel track available, but not really needed, as enough dramatics flare up to tip into the five channel. As bonus features go, there are none. Ilana Rein’s debut into the feature film market could have been worse, but “Perception” is a strong entry into the horror-thriller market with some Hitchcockian undertones. Definitely sexy and psychotic, “Perception” puts onto a pedastal humanity’s worst when the sheep’s clothing has finally shed and that’s worth reviewing.

Taking the Vindictive Fight Against EVIL! “Girl Number Three” reviewed!

Posted by Steven Lewis on August 19, 2019

Art major Max lives a disciplined life, especially in the love department which is constantly challenged by her roommate to play the field, but Max aims for true love and will consummate her feelings toward longtime boyfriend, Brian, whose patience will be rewarded with a sexy maid costume at a Halloween party that will eventually lead back to the bedroom. Before the party, Max is kidnapped by masked men at gunpoint and taken to an abandoned textile factory. Surrounded by All Hallows Eve zealots and eight other hooded and bound women, Max becomes the ritualized girl number three, a number bestowed upon her as a chosen sacrifice amongst the brotherhood for sex and, most likely, death. When part of the crumbling building collapses, Max seizes the opportunity to flee, but as escape from the building seems impossible and other women screams echo through the vacant hallways, girl number three has been pushed too far and picks up an old fire axe, concluding that she must kill them all.

The second Shami Media Group distributed production to come across our chop block in a matter of weeks. First, the Nathan Thomas Milliner directed “A Wish for the Dead” written by Herschel Zahnd was the fitting entry film to ease into and extract our thoughts, takes, and opinions. Overall, Milliner’s film sold a solid product. Now, here’s Herschel Zahnd directing “Girl Number Three” that’s written by Nathan Thomas Milliner and Zahnd guides us down a completely different pathway from Milliner’s wish granting of undead havic and into a conceivably relevant sadistic exploitation and vengeance thriller. Released a decade ago in 2009 and based off of a Milliner’s short graphic novella, which seems to be a reoccurring and fruitful source of material for their production company Renegade Arts Productions, Zahnd’s ice breaker into the feature film market with “Girl Number Three” precedes the Milliner’s “A Wish for the Dead,” kickstarting the duo’s long wrong together into independent filmmaking.

With the two filmmakers so intwined, of course there are others, in the cast, that have had starred or have had bit parts in both films. Leading lady, Julie Streble, is one of them. Streble’s tackles the titular character who shoulders more than just being a conventional final girl; in fact, far from it as she’s a girl who makes things final…forever. Streble has an absolute vision as a scorned and beguiled woman to well-round Max’s initial love is true nature and her ideology slowly unravels as Max’s day trek becomes nothing more than an objectifying daily journey as the film progresses. From being bumped into twice by men, without an apologetic gesture, and being googly-eyed and hit on with unwelcome advances, Zahnd forces Max’s everyday struggle with the opposite sex down the audience’s already #MeToo’d cultured throats – remember, this film was made 10 years ago before many of the current movements. Other characters are not thoroughly developed to be systematically a part of the story to unfold in such importance, but play significant parts in her physical and mental reshaping of being a killer elite and the actors and actresses in those role include Kent Carney, Shawn Dolphin, Jess White, Jason Crowe (“Don’t Fuck in the Woods 2”) and “A Wish for the Dead” troupe – Dennis Grinar, Lori Cooke, Melissa Hoff-Decker, Chuck Lee Miller, and Adam Pepper.

“Girl Number Three” has a story that drives down a one lane road, a road certainly headed for Max to give her abductors hell, but a proverbial fork in the road puts a monkey wrench into gears already in motion. There won’t be any spoilers to be had here, but the outcome of “Girl Number Three” discerns differently in a social context that maintains another variant of disturbing exploits. A welcoming trickster’s commodity might change perceptions or might insight and evoke counter attitudes of how Max unravels her newfound vindictiveness. I praise Zahnd and Milliner for their foresight of a cultural that’s abrasively pandemic and how the structure of their film decimates one demeanor to seamlessly flow into another without a speck of hesitation. However, the latter borders being undercooked, and perhaps favors an unchancy raw red center, in not dumping more into the backstory or even circumnavigate with a savage shocker of an ending. The end scene was good enough to call the film quits, but not without leaving much to be desired.

MVDVisual and Shami Media Group ups the kill counter with the Renegade Arts Production, “Girl Number Three,” releasing the 80 minute unto DVD home video. The singer layer DVD is presented in a widescreen, 16:9 aspect ratio. Filmed in black and white, the devoid of hues reinforces the subject tone while also appearing to shade obvious low-budget obtrusions. With a story that mainly takes place inside a ramshackle building, black and white was an obvious choice as colors receptacles would be sorely underused and everything would just appear vapid and monotonous, like looking at the same four walls in a prison cell or a high school classroom. However, there’s always a downside to shooting black and white, such as contrasts levels on an unstable picture and the evident presence of digital noise. Exteriorly, the blown up moon and glowing yellow building windows composite was superficial at best, but clever in a pinch. The English language 2.0 stereo mix had the worse of the two major technical aspects with a low-bit rate that caused some hissing flare ups, the lossy metal soundtrack lacks robust fidelity, and there’s was also a complete disregard for depth. For example, when Max is exiting a store on her cell phone, her vocals remain on the same audio level from the background to the foreground. The mix is what it is, but there are solid points for a decent range and an agreeable dialogue track. There are no bonus features available other than a static menu, with two options to proceed into the feature. Don’t know why. The DVD art from SMG is a gorgeous illustration of the titular character that’s sexy, raw, and retro. “Girl Number Three” has grindhouse bones and director Herschel Zahnd fractures conventional storytelling with a notable plot twist, but Max and her cobwebbed axe doesn’t just rack up a body count as the intertwinement of the person and the instrument of destruction only eviscerates temporary contentment waned much more cognition.

Available @ Amazon.com!

A Double Dose of Jason Blade Breaking Bad Guys’ EVIL Jaws in “Day of the Panther” and “Strike of the Panther” reviewed!

Posted by Steven Lewis on August 16, 2019

A secret strike force known as the Panthers enlist the best of the best when considering agents and those who pass the Panther’s rigorous training will become part of the fight for good organization. The Hong Kong Panther branch graduates two Westerners, Jason Blade and Linda Anderson, who become a perfect undercover team. When the pair uncover a Triad drug ring, the investigation sends Linda ahead to Perth in West Australia to initially track down Jim Baxter, a lethal enforcer in the drug dealing business. Anticipating losing the tail on Baxter and disregarding Jason’s wishes to wait for his arrival, Linda surveils and sneaks into the Baxter’s hideaway only to be falling into a trap that ends in her demise. Jason vows vengeance and infiltrates Baxter’s organization for leads and information, using his martial arts expertise to gain him complete trust and access to the kingpin.

“Day of the Panther” is part one of this two part film series which has been released onto Blu-ray courteously by Umbrella Entertainment and, perhaps, even showcases Australia’s most famous martial arts superstar! Released in 1988, “Day of the Panther” combines fisticuffs, roundhouse kicks, and an arsenal of quips into a panache of action hailing from the land down under. Hard to phantom that Brian Trenchard-Smith, man behind “Dead End Drive-In” and then later went on to direct demonic anarchy in “Night of the Demons 2” and a couple of those pint sized “Leprechaun” sequels, one including space, was at the helm, steering eight glorified and unstoppable fight sequences complete with “Street Fighter II” punch and kick sound effects. “Dangerous Game” stunt coordinator and writer, Peter West, pens the script that leads Jason Blade down a road of vengeance for a slain colleague in a formulaic and cliché trope driven plot, but this Ozploitation is more entertaining than uninteresting for a younger audience.

In “Strike of the Panther,” the break a politician’s drug addicted daughter out of a brothel and inclusive crime fighting Panther, Jason Blade, returns when Jim Baxter holds hostage’s his girlfriend, Gemma Anderson, after a deadly prison escape. Fortified in a ready to detonate vacant Perth power plant, Blade and his crime task force attempt to beat the information out from Baxter henchmen before sieging a rescue. Baxter declares his own brand of revenge toward Blade that not only includes high yield explosives that could wipe Perth from off the map, but the brute also summons every malign martial arts fighter he can muster to cloak themselves in amongst the power plant rafters, lying in wait for Blade and the police to storm their holdup. Blade must go for Baxter alone to not only save his girlfriend, but save Perth as well.

What is essentially Jason Blade part deux, “Strike of the Panther” retreads over old footsteps in this 1989 release with Brian Trenchard-Smith and Peter West filling in once against as director and writer. The obvious back-to-back shoots suggests that not much has diverted from the original tone of the film and with that truth, Jason Blade continues his trend of human punching bags without so much of breaking a sweat. The sequel, much like the first film, is good, clean action without much blood, without much cursing, and without much perversion. “Strike” might be edgier with a few more side boob scenes. That’s about it.

Martial arts expert Edward John Stazak is quintessentially the Chuck Norris of Australian cinema, but whereas Norris has a prolonged career in the film industry, with credits out the wazoo, Stazak’s success in the biz never took a jump kick flight. Not even with Jason Blade, a character who sounds like a fighter straight out of a Mortal Kombat installment, could boost a lustrous vocation. Stazak’s likeability is only shorn by his lack of expressive versatility as he’s virtually one dimensional, showing no range of emotion when the scene calls for it or even when in the rare instance of being bested at a fight, but the handsome, muscular Aussie can sell a hand-to-hand skirmish with one or ten opponents without wondering too far into cheesy coordinated territory, which Stazak co-assisted in the fight sequences alongside screenwriter and stunt man Peter West. The lack of a good and powerful antagonist also spikes “Day” and “Strike’s” well-rounded action status. Jim Richards as the tough Jim Baxter wasn’t a formidable adversary for Jason Blade. Baxter never challenges Blade’s weaknesses because Blade doesn’t have any weakness so it seems. Even with Gemma Anderson is kidnapped, Baxter never really leverages the opportunity. Jim Richards also looked out of shape in comparison to Stazak, who routinely went sleeves and, more frequently, shirtless to show off his physique, but Richards is also a well-known self-defense instructor who has worked with military personnel. In short, Stazark looked better for the camera. If you’re not an actual fighter, you’re an actual actor, such is the case with John Stanton and Michael Carman who brought a little thespianism to the “Panther” films. Stanton presented a fatherly figure, playing a Panther named Wes Anderson at the tail end of his tenure with the organization, to Stazak’s Blade. Andersen’s barely copes to the loss of his daughter, Linda, but that’ the Panther way or so it’s assumed as he puts it, “life goes on.” That such detached reality can be said about Zukor, the drug kingpin of Perth, played by Michael Carman (“The Devil’s Playground” and “Quigley Down Under”). Carman provides the aggressive affluent with has thugs to do his dirty work. Unfortunately, Carman does not continue with his Zukor role in “Strike of the Panther,” but Zukor and Wes are the fire and ice that motivate the marionettes into action at least in “Day of the Panther” while Wes pivots on a strange character tangent with supernatural abilities that’ll be explored later. As far as Love interests go, Paris Jefferson fills that void as Gemma Anderson. The “Xena: Warrior Princess” star becomes the niece to Wes Andersen, taking care of her uncle while she takes care of Jason Blade’s needs – wink wink. Jefferson’s stout feminine performance perfectly outcasts any kind of frail attributes typical of a damsel in distress that’s is trope-laden in action films; think Mary Elizabeth Winstead in “Live Free, Die Hard.”

Overall, as action films, “Day” and “Strike of the Panther” are fairly conventional martial art films for the 1980’s with a few eye brow raising quirks. For instance, Jason Blade is infallible. Perhaps, too foolproof as he single handily breaks down drug structures with a one-two punch simplicity, as if the level setting was on easy mode. Another what? moment stems from the character Wes Anderson in the sequel film when he suddenly obtains empathic powers after being grazed by a fleeing car and he’s able to reach Jason Blade on a subconscious level as he enters the power plant’s maze and takes on ninja-cladded warriors. Lastly, for back-to-back shot films where the release dates are stack closely upon each other, the need for an in-depth recap was terribly excessive that perhaps only required a tiny bit of exposition to fill in the gaps. “The Evil Dead” series is an ideal candidate for comparison of prologue recaps. Ashley Williams explains, with accompanying depiction variants, in “Evil Dead II” and “Army of Darkness” his misadventure to a cabin in the woods and his poor Linda becomes a Candarian demon plaything, but the Sam Raimi directed cult horrors are also at least five years separated. Brian Trenchard-Smith concentrates his direction of “Strike of the Panther” to detail almost every plot point through a Wes Anderson voiceover and rehashed footage. There are also awkward workout and dance scenes reused for the sequel that are not a nod back to the first film, but are used as current storyline. Talk about your deja vu!

Umbrella Entertainment release “Day of the Panther” and “Strike of the Panther” onto a double bill Blu-ray, a first for the Ozploitation gems. The two-films on a single BD50, region B disc is presented remastered in a high definition 1080p widescreen, 1.85:1 aspect ratio, from the original 35mm interpositive negatives, scanned and restored in 4k. Despite some minor strip issues (i.e. some cigarette burns and a few translucent scratches), the picture has tremendous stability in color and in natural grain. However, the framing seems a bit off as if the cropped, but that could also be very much intentional by cinematographer Simon Akkerman. The English language 2.0 DTS-HD Master Audio track has full-flavor robustness and balanced across the board. Remember those Street Fighter II sound effects? Dialogue has good distinction with solid range and depth with the soundtrack and ambience. No subtitles are available on this release. Unfortunately, there are no bonus features on this release either. The Brian Trenchard-Smith back-to-back films, bustling with endless wrangle, hail from Australia for the first time on Blu-ray and while might seem excessively obsolete in contrast to today’s action film, “Day of the Panther” and “Strike of the Panther” are ravishing relics that are extremely priceless to martial art cinema collectors.