Triangular Space EVIL is the Sign of the Beast! “The Dark Side of the Moon” reviewed!


In the year 2022, orbital satellites carry nuclear missiles and maintain flight patterns around the moon. When a satellite repair ship, known as a “refab” ship called Spaecore 1, attempts to intercept a satellite for maintenance, the system wide computer goes into an unexplained power failure that jeopardizes communications, life support, and navigation. Drifting helpless toward sector Centrus B-40, the dark side of the moon, all hope will be lost within 24 hours unless operations can be restored, but a mysterious spacecraft, NASA’s Discovery shuttle, heads toward them and docks onto their outer hull without so much of a hail from the shuttle. Captain Flynn and Lt. Giles investigate a seemingly abandoned ship until coming across a dead body of a presumed missing NASA astronaut, eviscerated with an opening left in a perfect triangle as the cause of death, and that opens the door to more questions than answer as a sinister presence boards their ship, pursuing damnation for their souls.

Just think, in two more years, weapons of mass destruction satellites will loom just above fluffy white clouds, ready to mushroom clouds out of targets with a 10-ton yield; at least that’s what director D.J. Webster and the screenwriters, identical twins Carey W. Hayes and Chad Hayes, modeled the future when conjuring up this delectable Sci-Fi horror film approx. 20 years ago. With special effects models and techniques that withstand against powerhouse space films, such as from the immaculate effects of Alien franchise, “The Dark Side of the Moon” becomes more than just a 1973 Pink Floyd album title Fabricated out of warped creativity of old and new concepts with a Biblical horror base that only the 1990’s could loosely spin into an hour and 27 minute feature, for many of the filmmakers involved, “The Dark Side of the Moon” credits as their first taste of a feature length, large scale production, especially with the mainly music video director D.J. Webster, who loves his closeups, and director of photography Russ T. Alsobrook, as they auto clicks into a team that seemingly have experience of seasoned veterans or, perhaps, spent some secretive, unlogged time in space. Who knows, but the outcome ruminates about the dark side of religion and how each of us deal with it internally.

When mullets and giant framed glasses are afoot, the late 80’s, early 90’s filming era is beyond evident with interestingly gritty characters lined up for an evil figure eager to knock them down and, of course, the story’s lead character is the mullet sporting pilot named Lt. Giles Stewart who is unwittingly thrust into the fast track of a hero’s lane. Giles’s atheism framework has a pleasant sardonicism about it when face-to-face with the immortal conqueror of his ship and crew. Will Bledsoe paints Giles as such as faithless space pilot, bound to duty, and willing to do anything to just not save himself, but others. One of the only recognizable faces, at least for myself, in the cast is John Diehl. The “Stargate” and “The Shield” television actor is best at being a wild card in turmoil situations and as shipmate Phillip Jennings, the same can be expected without being utterly conventional or warrant any kind of typecast label. Another actor to note is Alan Blumenfeld as the ship’s panicky Dr. Dreyfuss Steiner. Blumenfeld, who had a role in the best Jason Voorhees film, in my humble opinion, “Friday the 13th Part VI: Jason Lives, is once again stalked by a larger-than-life villain while maintaining a profusely sweaty persona that’s symbolically intended to be true, unadulterated fear. As a whole, the cast is amazing regardless of some first time filmmakers at the helm, rounding out with “Re-Animator’s” Robert Sampson as the ship’s Capt. Flynn, Joe Turkel from the first “Blade Runner,” “Blood Frenzy’s,” and overall erotic thriller goddess, Wendy MacDonald, stunt man (“Kill Bill Vol. 1 & 2, “Army of Darkness”) Ken Lesco, and another “Friday the 13th” actor, Camilla More, or Tina from “The Final Chapter,” as the stationary sexy, ship’s onboard computer-robot named Lesli – think on the same lines as Mother from “Alien,” but in the flesh.

What makes “The Dark Side of the Moon” very interesting is the film being an unofficial precursor to other science fiction horror films like “Event Horizon” that was released roughly seven years later. Space as this gateway to Hell concept is sorely under-appreciated and underutilized. Space is already vastly frightening to begin with and by adding a devilish abyss aspect to it makes the idea an absorbingly scary thought. What’s also fascinating is the Hayes brother. “The Dark Side of the Moon” is the brothers’ roots film; the proverbial patient zero that spread successful movie writing careers for the twins, spawning turn of the century horror with the remake of “House of Wax” that saw the on-screen death of Paris Hilton, had “Underworld” star Kate Beckinsale track down a killer in Antarctica in “Whiteout,” and they penned “The Conjuring” that constructed its very own universe.

“The Dark Side of the Moon” comes in at #2 on the Unearthed Films’ Classics label distributed MVDVisual. The newly restored 4K transfer of the Wild Street Pictures production is presented in a widescreen, 1.85:1 aspect ratio, region A Blu-ray release. Surprisingly sharp despite consistent low-lit scenes and not as washed like previous VHS versions, this restoration fine tunes the nitty-gritty specifics needed for proper presentation that doesn’t falter from heavy digital noise or blotch artifacts and shows no signs of enhancing The English language LPCM 2.0 audio track is strapping for a dual channel format. Dialogue pronounced clearly, ambient spaceship clinks and clunks create atmospheric range and depth, and the relentless brooding score by “Society’s” Mark Ryder and Phil Davies delivers shuddering spinal-tingles without being monotonously dull. Bonus features include a commentary with executive producer Paul and Unearthed Films’ Stephen Biro, interviews with Alan Blumenfeld, FX artist R. Christopher Biggs, and stuntman Chuck Borden, plus vintage audio track, trailers, photo gallery, and a insert booklet that dives into about the production and the cast. All packed into a nice little slipcover package. “The Dark Side of the Moon” pioneers into the future of space horror as a good ole dread-inducing fear-monger of the great expanse, deserving this Unearthed Films’ release, hands down.

Evil Finishes a Long Over Due 90’s SOV! “Jungle Trap” review!


Dr. Chris Carpenter aims to assemble a team of grad students to search for lost idol artifacts from one of the last, and deadliest, known South American native tribes who were thought to be exterminated by a military force. Despite her severe objections, her ex-husband and anthropologist, Dr. Josh Carpenter, is hired by the university department head to lead the expedition to the infamous Palace Hotel, a proclaimed millionaire’s playground overtook by the jungle after the natives beheaded guests and staffed. Unequipped and ill-prepared, the team journey to the most remote parts of South America, winging the entire trip with their haphazard ambitions, and seek means of transportation any way possible even if that means flying in a cramped plane with an alcoholic pilot. Upon their arrival at the Palace Hotel, hotel manager Madam Trudea and her odd bellhop Obie welcome them to the incredulously pristine resort grounds where one-by-one the team ends up dead with their heads chopped clean off and shrunken to fulfill an vengeful oath of retribution.

twenty-seven years. twenty-seven long years since director James Bryan’s film “Jungle Trap” saw the light of viewership day. “The Executioner, Part II” and “Don’t Go Into the Woods” director interlaced his cult filmography with also notable adult features that starred recognizable talent with Ron Jeremy, Peter North, Kitten Natividad, and Kristara Barrington helmed under a pair of monikers Emil Hightower and Morris Deal that Bryan used to separate his classes of work. Unfortunately, Bryan’s colorful career came to a complete and sudden halt right before the decade turn into the 1990’s until Bleeding Skull! Video unearthed haunted hotel in the deep jungle film “Jungle Trap.” Filmed in 1990, Bryan and his co-writer/female lead, Renee Harmon, use the latest and greatest technology of the time, tape. “Jungle Trap’s” shot-on-video, aka VHS, appeal is an exuberance of maddening creativity only bested by the “Troll 2” style bad acting.

Co-writer Renee Harmon stars as Dr. Chris Carpenter, marking the sixth collaboration between Harmon and Bryan along with “Run Coyote Run,” “Hell Riders,” “The Executioner, Part II,” “Lady Street Fighter, and “Boogievision.” Harmon’s relationship to her character, Chris Carpenter, mimics that of Eva Gabor if she had somehow wound up in the thick Jungle instead of that farm on Green Acres. “Night of Terror’s” Frank Neuhaus had more appropriately succumb to the distressed anthropological victim accustomed with this horror and Neuhaus opposite of Harmon, performance wise, is night and day making their former relationship hard to fathom. If there’s one character that was genuinely creepy in “Jungle Trap,” Jan Vanderberg’s bell hopping Obie wins the prize. THe elderly Vanderberg has spry movements, wide-wild eyes, and a sinister smile that mingles around in the grey area of friend or foe. The remaining cast, including Heidi Ahn, Tim de Haas, Valerie Smith, Rhonda Collier, Glen Serebian, Bill Luce, and Bette Bena, share the same remarkably and overly dramatic bad performances that make “Jungle Trap” hard to skip.

I’m sure the picture is starting to materialize. “Jungle Trap” is nowhere near a good movie. However, vast improvements to render the “Jungle Trap” enjoyable, as well as to scrape by finishing the Bryan project, was courteously contributed by Bleeding Skull! Video’s kickstarter initiative. The company has a history of gathering unreleased film’s loose ends, tying them together, and creating a fetching film; in this case, “Jungle Trap” didn’t have a score, wasn’t edited, and was shelved for decades. Now, “Jungle Trap” isn’t a mystery in the public eye, has a semicoherent storyline with an edited in arbitrary opening, and, thanks to the synth-heavy Euro-trashy sounds of Taken by Savages, a gloriously catchy soundtrack has been laid down. The entire package puts more girth and more value into Bryan’s shamefully quaint horror.

Bleeding Skull! Video presents “Jungle Trap” on DVD, VHS, and VOD for the first time! Since provided with a streaming copy, critiquing the audio and video won’t be solid, but the shot-on-video image keeps the obsolete VHS quality attributes with tracking lines galore, blurry-soft quality, and a slew of inconsistent coloring that works under the maestros of Joey Ziemba and Annie Choi, high ranking members of Bleeding Skull! Video, synthesizing a score under the Taken by Savages moniker! There were no extras with the streaming screener, but the 72 minutes feature includes with the VHS and DVD a fold-out poster, making-of documentary, and Bleeding Skull! Video trailers. “Jungle Trap” is a mondo masterpiece, a terrific terrible, with a heart of gold (skull) and a kickass soundtrack from a colorfully careered director who now has this blast from a past as his legacy film.