A Double Dose of Revenge Against EVIL in “Psycho Kickboxer” and “Canvas of Blood” reviewed!


Alex Hunter had all he could ever want. A blooming career as an up-and-coming kick boxer, a successful police chief father on the verge of finally nailing a crime lord, and becoming recently engaged to marry to his long time girlfriend. Yes, Alex’s life fortune was very valuable indeed until it suddenly came crashing down to a fateful end when the ruthless crime lord his father was pursuing, known as Hawthorne, kidnaps and brutally murders his father and finance right in front of him and leaves him to die. Found and rescued by a well-bound special forces veteran, a recovering Alex lives to fight another day, a day for retribution against the a city of evil and crime. The one time kick boxer turns to a life of vigilantism under the guise of the public designated The Dark Angel who cleans up thugs, thieves, and low-lifes with martial art combinations that put Hawthorne in a supply chain bind when drug deals fall through at the result of The Dark Angel’s meddling. Nobody knows the identity of the masked hero, but one Cassie Wells, a journalist, aims to unmask the citizenry protector with the help of a bumbling private detective, but when they become too close to Alex, Hawthorne sets his target on them as bait.

The American 5-time world kickboxing champion, Curtis “The Explosive Thin Man” Bush, stars in his debut leading role performance in the martial arts, action-melee, “Psycho Kickboxer.” Also known as “Psycho Kickboxer: The Dark Angel,” the film had exclusive rights to being born and bred in Southeast Virginia, more specifically in the Hampton Roads area, with a local cast and crew and the opportunity to utilize region locales and business, such as his own, the Curtis Bush Karate Club, and those he was acquainted with at free of charge. Bush, born in Virginia Beach, puts up the cash, along with a slew of family and friends as investors as well, to finally produce his own work without having to be another masked Foot Solider in a “Teenage Mutant Ninja Turtle” sequel or just be another bad guy who can kick real good for the camera. Bush hires TV series and documentary director David Haycox and freshman filmmaker Mardy South to work from a Kathy Varner script. Bush’s career didn’t quite take off to be the next Chuck Norris or Jean-Claude Van Damme of Virginia Beach despite having athletic talent and good lucks, but he lives comfortably now in Hawaii with his family. Instead, the legendary fighter, who retired at the age of 37 in 1999, can look back at 1997’s “Psycho Kickboxer,” a five year project that began filming in 1992, as a crowning cinema achievement outside the square ring and without the confinement of 20.1 x 20.1 ft ropes alongside a heap of localized co-stars Kim Reynolds, Rick Clark, Tom Story (“Metamorphosis”), Rodney Suitor (“Traxx”), Jeffrey Kotvas, and George James.

Personally, “Psycho Kickboxing” round kicks close to my heart, targeting the marshmallow center, and landing a Curtis Bush southpaw punch right (or should I say left) into one of my favorite home town films of all time. You see, this reviewer is a native of the Hampton Roads area and raised in the area for 28 years until becoming a Northerner. Honestly, I’ve never heard of “Psycho Kickboxer” or even Curtis Bush for that matter, not even the mayor honored Curtis Bush Day that’s April 27th, and once I looked past the slew of mullets and mustaches and saw the name of a local bar, Hot Tuna Bar and Grill, briefly observable in a scene, the regional newspaper, The Virginian-Pilot, and a resident country station, 97.3 The Eagle, with a pair of DJs as themselves. Championing “Psycho Kickboxer” as a good film is an enormously uphill one and even being a cult classic wobbles on the bunny hill as filler scenes, specifically the film’s ninja-cladded Curtis Bush tearing through bad guys is more than half the movie as montage segments, run rampant over what should be character exploration of redefining and rediscovering character arc qualities. However, the Haycox and South directorial has some blood red and amorous highlights with a pair of exceptional head rupturing scenes I’ve ever bared witnessed from the special effects of the Creations Unlimited team, Steve Stephens and Clay Sayre, and some tasteful T and A from Kim Reynolds in her bathtub that’s shouldn’t dare be missed.

The accompanying feature on this pyscho-revenger set tells the story of Julia, a young violin prodigy, who feels the extreme pressure weighing her down with an abrasive and abusive boyfriend and the intense passion she has for music that’s literally destroying her gifted hands from within. Her father, an art professor who has a disabled hand himself, quickly rushes her to a doctor for examination and concludes surgery is the only course of action to right the damage, but the coked up, alcoholic of a surgeon botches the job, leaving poor Julia unable to use her hand and diminishing any hope of playing her violin again. A long line of deep engrained corruption integrated inside the justice system is uncovered by her father after a sabotaged lawsuit exonerates the doctor from any wrongdoing. Pissed off with rage, the art professor decides to take justice in his own hands or, rather, his own hand as he fabricates instruments of death to paint his own retribution for physically and mentally injuring his daughter who is now in a semi-catatonic state. Police are baffled by each death that leaves little clues to the man who perpetrated them as one detective continues the investigation of grisly murders.

“Canvas of Blood” is the rightful backseat second feature being inferior of the two films on the double bill release. Set on location in and around the Baltimore, Maryland region, the anomalously rare 1997 revenge flick, that was only released on VHS, was at one time the debut disaster-piece from writer-director Joel Denning, produced by the Post Productions Film Company in association with Bad Credit OK and presented by Michael Mann – no, not the same Michael Mann who helmed Al Pacino and Robert De Niro in “Heat.” Instead of intense gun-blazing battles and gritty dialogue exchanges, Denning’s carnivalized approach to vindictive measures is met with an unscrupulous amount of aberrant sound effects such with a fart track, overweight male strippers with mullets in thongs doing abhorrent dance moves, and exaggerated character travesties in a mishmash plot involving a decorated war vet now art professor painting a trail of blood with his interchangeable cyborg mitt arsenal that includes a flame thrower, bone saw, and a T-800 “Terminator” style hand for massive nutsack squeezing. The most difficult to comprehend about a tale that warrants no deep thought is whether Denning’s intentions are sincere or to make a mockery of the revenge genre with a blatant boorish attempt. As far as actors go, the now radio personality, Jennifer Hutt, does what she can with cheap cinematic artwork and the same thing can be said about Jack Mclernan, who portrays no Paul Kersey, a role tailored by Charles Bronson in “Death Wish”, and while McLernan might strike a resemblance to the “Once Upon A Time in the West” actor, McClernan can only muster about half the set of stoic acting chops to save any kind of face. Lance Irwin, Andy Colvin, Marian Koubek, Mark Frear, Jamie Bell, Michael Mann Reennie McManus, Irena Beytler, and Svetlana Milikouris co-star.

POP Cinema’s Shock-O-Rama banner presents a Psycho Horror Double Feature with “Psycho Kickboxer” and “Canvas of Blood” on a single disc DVD and both films are presented from in a VHS-rip, 4:3 aspect ratio, format that gives no indication of an enhanced or upscale treatment to the transfers. “Psycho Kickboxer,” which was actually shot in 16mm and transferred to Betacam VHS, fairs better with a unscathed negative obtained cleanly without the annoyance of compression artifacts, due to the lower bitrate from the more than likely clean 16mm source. However, don’t expect colors to pop and details to be fine from a VHS transfer that’s has a slightly fuzzy and gray washed tone. Canvas sports much of the same with a more warmer tone and some over-saturation of blue tint, but tracking distortions and analog graded noise are more evident flaws in this presentation. The English Language mono tracks on both features are a composited nightmare of little range and depth. Fight ambience could have been pulled right from the Double Dragon Nintendo game and the subjective overlay of obscurely crude ambient tracks, even an overly synthesized enhanced screaming I would consider as well, dilutes “Canvas of Blood’s” objective plotline. The DVD extras include Shock-O-Rama vault trailers and a 3-page booklet insert containing a 1998 Alternative Cinema Magazine article written by Curtis Bush who provides a humbling anecdote about film’s origin story and the process of making his independent movie dream come reality. There’s no contest. “Psycho Kickboxer” TKO’s “Canvas of Blood” in every round of the Psycho Horror Double Feature, despite the horde of mustaches and mullets and despite both films not really being a horror. Shame that world class kickboxer Curtis Bush’s career didn’t skyrocket afterwards, but thats what makes “Psycho Kickboxer” inherently special and exceptional to behold, just like the fighter himself.

“Psycho Kickboxer” available on DVD! Click the Cover to buy!

EVIL Must Be Broken In Before Being Used. “The Wheel” reviewed!


In the near future, paraplegic inmate Matthew Mills volunteers under pressure to join a Satoshi-Telefair Industries experimental treatment program that not only promises to reduce his sentence, but to also to regain mobility in his legs. With nothing more than the hope to return to his daughter, Mills is enticed by the agreement and gives himself to a shadow company who regularly contracts with the military, facilitating deep underground at an isolated site. Shortly after signing the release form, he awakes in a dark, steel cell known as The Wheel and is able to move his legs again, but the jubilation quickly subsides as armored men with batons visit his cell to beat and break his body in order for the nano technology, injected amongst his anatomy, to rebuild damaged tissue and make him stronger. The ordeal torments him, but to the researchers observing every detail of his recovery and behavior, Mills is just subject 2-1, another potential subject destined for the Future Soldier Initiative where the unethical testing must continue.

Shady shadow corporations, experimental nano-material rehabilitation and enhancement, and high level science fiction noir from writer James S. Abrams and director Dee McLachlan with 2019’s “The Wheel.” As if not already obvious from filmmaker’s nationalities, “The Wheel” is produced by and shot by Australian production companies SunJive Studios and Film Victoria, a state government agency that advocates funding and other filming assistances for shooting films in sectors of Victoria, Australia. “The Wheel’s” steely posture mirrors the frigid winter snow of Melbourne, Victoria’s covered forests that’s beautiful, yet deadly in the conventional beauty of nature. Yet, “The Wheel” delves into the meddling of what makes man and what also drives man as the story persists on the subject of redesigning the human body, but what that notion doesn’t take into account is what if the human body’s reactions doesn’t go as planed and a clapback ensues with all the synthetic re-wiring behind it? This is what Abrams and McLachlan intended to explore.

Australian actor Jackson Gallagher stars as Matthew Mills, a cripple with a purpose. The “Patrick” actor has been adrift from the darker roles since 2013 until up now with his main role in “The Wheel” that demanded a certain physicality that involved fight sequences with one, or two, or even three opponents and some ariel ropes work. The physically fit Gallagher not only survives the daunting workload, but hastily pulls Mills through his character’s tough transition from hopeful paraplegic to overly confident ultimate fighting weapon without an earnest core of struggle. The same can be said with Dr. Allison Turner played by Kendal Rae (“Out of the Shadows”). Turner’s a rogue researcher who had her practicing credentials revoked after the mistreatment of lab monkeys and was sought after by the Satoshi-Telefair for her detachment qualities, but her Turner’s character also didn’t quite arc properly and resembled a midway plateau from the moment Mills became her research subject. The only character that stayed the course was Dr. Emmett Snyder, a loyal Sataoshi-Telefair researcher to the bone. When he’s not suplexing or drop kicking in a championship wrestling match, David Arquette does dabble in acting. The “Scream” veteran actor fills in a rather unlikely antagonistic role, but the wild eye Arquette remains taut in his performance. “The Wheel” also costars Belinda McClory (“Matrix”). Christopher Kirby (“Daybreakers”), Victoria Liu, and Ben Still.

The spoke of the “The Wheel” rotates on a monotonic and frosty shoulder axle colored in gun metal and iced with dystopian immoralities. Every breathing element and inanimate objects is in a state of distant identity being bestowed labels in a combination of letters and numbers. The utilitarian wheel, an underground experiment facility that shifts rooms up and down and can be rotated to the other side, has no windows or any kind of necessary function other than to test subjects. Where “The Wheel” goes full “Equilibrium” by lacking emotional depth and substance without a coup d’état of the bleak authority, “The Wheel” also lacks vigor to break the blank uniformity and tries to speed through Mills patriarchal fluff to provide reason for his endurance and to provide reason for audiences to care. The epicenter theme to Mills motivation and escape is the thought of getting back to his daughter by any means necessary and was deemed fit to lay by the waist side to rely more on the hand-to-hand fighting like an overly glorified 70’s martial arts film.

Umbrella Entertainment distributes the sci-fi, action film, “The Wheel,” produced by SunJive Studios and Film Victoria onto a region free DVD home video. The clean digital picture in a widescreen, 2.35:1 aspect ratio, has a crisp demeanor that exact a bunch of natural lighting outside with a bit of a lower contrast inside dark “The Wheel” itself. What I found more appealing the anti-aliasing of the drone footage over the snowy covered Victoria forest, suggesting a higher bitrate compression that offers a seamless and smooth recording. The 5.1 English language Dolby audio is offered up with no whiff of an Australian accent in a lossless track that sounds good on the surround channels during action scenes. Dialogue is clear amongst the ample range and depth of ambient layers of researches watching and speaking through comms from inside a box watching another guy inside a box. Like other Umbrella releases, “The Wheel” has no special features nor a static menu. “The Wheel” has ice in the veins, but no warmth in it’s heart that seems vertically challenged on a horizontal slope of dystopian disorder.

The Wheel on DVD

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


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.

Day and Strike of the Panther on a Blu-ray! WHAT!! Get it now at Amazon!

One Tough Cop Taking on Evil Cyborgs! “Nemesis” review!


In the year 2027, enhanced humanistic cyborgs virtually run the planet with the renowned L.A.P.D. being no exception. Alex Rain, one of L.A.’s finest brute cops, is partially cyborg himself, but the essence of his soul remains human intact while his synthetic flesh cloaks the icy machine beneath. After tracking down suspected cyborg terrorists and almost losing his life in the struggle to stop them, Alex questions his dwindling humanity, leading him down a path of unfulfilling revenge and botched smuggling before his former employer, the L.A.P.D. commissioner named Farnsworth, tracks him down and uses deadly coercion to force Alex as a pawn in dangerous covert mission. The burnt out cop is thrusted back into the fray of his former life when Farnsworth orders him to retrieve data from the treacherous female cyborg, Jared, who was once Alex’s partner and lover, before she hands over the sensitive information to a group of cyborg terrorists who call themselves The Red Army Hammerheads. With a micro bomb implanted near his heart as insurance, Alex has no choice but to accept the assignment before detonation in 3 days and with his time running out, finding Jared isn’t the problem as Alex comes to realize that deception has convoluted the stakes and nothing is who or what they seem.

Albert Pyun’s 1992 cyberpunk action-thriller “Nemesis” is an explosive-heavy, science fiction existentialism film never before seen, or even aware of, by this reviewer, but the ground-worked narrative has remained a constant piece of foundation in being the byproduct of inspiration extracted from other cyberpunk films of its kind, such as “Robocop,” “Blade Runner,” and “The Terminator.” “Nemesis” has a presence much to the tune of another film, “Cyborg,” starring John-Claude Van Damme and that inclination would inevitably make a world of sense when the awe-striking epiphany lands that Pyun also directed that film, also utilizing some of the same actors for his early 90’s cybernetic dystopian feature. In reviewing Pyun’s credits, the assumption can be made that the filmmaker has a sturdy hard-on for the intertwining of mankind and machine as not only did the director write and direct “Cyborg” and helmed “Nemesis,” but went on to be a part of, whether director, writer, or producer, of four more “Nemesis” sequels with a fifth being produced and shot, but scrapped in post-production due to Pyun’s flailing mental health. Rebecca Charles fed the scribal beast as “Nemesis’” screenwriter, along with penning “Nemesis 2: Nebula” and “Nemesis 3: Time Lapse.”

Alex Rain is a cold cut character, sliced thick like a cool cucumber on top of a hard to wedge salad. Rain’s iciness symbolizes his downtrodden humanity status and with each part of his body shattered from destruction, he becomes one step closer to being an automaton with eye brows. B-movie action star Olivier Guner essentially make a big career breakthrough with “Nemesis” as his sophomore feature. Guner’s military background suitably solidifies his physique as a workaholic cyborg cop while also presenting a rough cut speech impediment that’s very straight forward and without emotion. Some would say that Gruner’s approach fits his half-human, half-toaster oven character and I would say that would be correct. The 80’s and 90’s saw a crowded entry list of action stars, including Jean-Claude Van Damme, Chuck Norris, Steven Seagal, Sylvester Stallone, Arnold Schwarzenegger, and many others in various degrees of success – and Olivier Gruner became one of those faces that had since then been lost over the years; Gruner’s performance in “Nemesis” lacked pizazz which could have been the contributing factor to his success, but the monotonic, unflattering one-liners and blank face stare didn’t spark any fires on top of his average muscular frame. His performance, to keep with the fire motif, didn’t provide the oxygen, a combustible, or a flammable source to quickly set ablaze a trail for semi-popularity amongst his peers and that’s where “Nemesis” falters in entertainment value. Comparatively, “Trancers” franchise actor, Tim Thomerson, is full of range and vigor as an concealing Commissioner Farnsworth. Thomerson, in his early 40’s at the time of filming, displayed an impressive physicality to his role, keeping up nicely with his onscreen rival. Farnsworth, from the get-go, reeks of desperation when pressuring Alex to do his bidding and Thomerson really nails the part and can switch on the proverbial dime as an egocentric field operative when chasing Alex through the jungles on the Hawaii set. The night and day performance is a stark contrast between the two actors. What’s mostly disappointing about “Nemesis’” cast that favorable characters come and go; some the characters a pinned with terrific actors such as Shang Tsung himself, “Mortal Kombat’s” Cary-Hiroyuki Tagawa, as the leader of The Red Army Hammerheads and the late, great Brion James (“Red Heat”) chirping a lousy German accent of the Commissioner’s right hand man. The cast has many other recognizable names that, again, come and go, including a strung out looking Merle Kennedy (“Night of the Demons 2”) as Max Impact, Marjorie Monaghan as the algorithmic beauty Jared, Vincent Klyn (“Cyborg”) as a disposable bodyguard, an extremely fit and nude Deborah Shelton (“Body Double”), voice actor Nicholas Guest (“Dollman”), brief cameo by Jackie Earle Haley (“Watchmen”), a fresh faced version of “The Predator’s” Thomas Jane, and Thomas Jane’s bare ass.

The financial backing was obviously designated for a particular department in the “Nemesis” workshop and that department was special effects. Explosions, rotoscoping, stop-motion, sculpture, implosions, practical effects and makeup are just the tip of the iceberg. Frayed wires and eye ball cannons are the elegant touch that makes “Nemesis” a cult favorite and bring substance to a clunky storyline and divisively dynamic acting. However, not all the specials are pinpoint precision and grounded by reality. The one scene that stands above the rest when Farnsworth is hot in pursuit of Alex and Max and he’s shelling off rounds of a shotgun, standing relatively still, blasting away without moving the barrel around to compensate for his prey’s length of distance gained or even when they decided to make quick pivots in direction. Somehow, the rounds hit very close to Alex and Max and that’s not all, they even explode like a single stick of TNT. ACME must have had a hand in the special effects department because the scene sure was loony. Yet, the implosion of a monolithic silo was uber-impressive, well-executed, and really ritzy for the silver screen.

Imperial Entertainment’s “Nemesis” infiltrates onto another home video release, a region free, dual DVD and Hi-Def 1080p Blu-ray format release, from MVDVisual under their MVD Rewind Collection series. Sheathed by a slick, retro-grade slipcover with familiar art, reminiscent of the now decade old Sterling DVD release, the special collector’s edition provides two aspect ratios, an anamorphic widescreen 2.35:1 and a widescreen 1.78:1. This MVDVisual Release has stellar detail in the texture and in framing that are exhibited in various tint shades, such as yellow and blue, and eventually cough up toward a more natural look into the second act when Alex reaches the rough neighborhood of Shang Loo, Java. Even though the visual compositions and mold work doesn’t pop with color and are a bit fuzzy, “Nemesis” is a product of it’s time, the early 1990’s and you can’t fault Pyun’s film for that. The English 5.1 surround sound is beautiful. So beautiful and potent, in fact, that you can actually understand Olivier Gruner’s mumbling, putting dialogue for all characters right into the front row while offering a stimulating range and depth of ambience sound, an unlimited variety of explosions, and plenty of miscellany cyborg hubbub. Other language are available, including French, German, as well as English in 2.0 stereo and there are English and German SDH subtitles available The Blu-ray bonus features include new interviews with producer Eric Karson and director Albert Pyun, “Nemesis 2.0” the director’s cut with Albert Pyun audio commentary, and original theatrical trailer. The DVD is the director’s cut and also includes the Japanese cut with Japanese subtitles burnt-in. Bonus features for the DVD include introductions by the director Albert Pyun and star Olivier Gruner, an afterword by Albert Pyun, a behind-the-scenes featurette, an interview with star Olivier Gruner, the making of segment involving the hefty special effects, stunt work, and visual effects, a featurette entitled “Killcount,” a behind-the-scenes photo gallery, TV spots, Key Art Photo gallery, and, top it all off, a mini-poster inside the casing. Inside a killer definitive, two-format and disc set from MVDvisual, “Nemesis” hones in on the existentialism notion of what being human actually means to each and every one of us through the bombardment of gun fights and jumbo explosions on top of a conglomerate cyborg coup that peaks with hard bodies and even harder viewer contemplation.

When Evil Criminals Want You Dead, Only You Can Save Yourself! “Do It Yourself” review!


Alkis Vidalis made friends while serving time in prison. Friends, in the very loose sense of the word, with a corrupt and wealthy businessman, Daniel Bezerianos. When Alkis’s freedom is granted, he’s quickly picked up by Bezerianos’ gangster enforcers to contrive a public viral video with Alkis delivering a verbal message that would exonerate the still imprisoned crime boss and put the blame solely on a rival kingpin, Joseph Forkou. Held in Bezerianos’ rural porn studio building, Alkis commits to the plan that will, for now, save his own skin and as he’s going through the numerous takes to get an absolute resounding performance that will surely free Bezerianos, in the back of his mind, he knows will be undoubtedly be disposed of once his use to Bezeriano has dried up. Alkis’s fight tooth and nail survival and plan-as-he-goes quick thinking must ensure his fate through a multi-level building and a slew of heavily armed henchmen from two criminal factions who all want him dead before the video is uploaded to the internet cloud.

Not many Greek films come across my desk as a reviewer, but when they do show up at the door or in the mailbox, extreme anticipation salivation to pop the disc in the player and hit play begins its rampant course through the core of my body and shoots straight up to my bloodshot eyeballs. Dimitris Tsilifonis’ “Do It Yourself” is no exception as the 2017 action-thriller challenges us to take matters, big or small, into our own hands when push comes to shove and backed into a corner. Written and directed by Tsilifonis, the filmmaker takes the point in his first feature opportunity, aiming high and executing a non-linear, non-formulaic storyline that will keep viewers guessing how, what, when, why and who. “Do It Yourself” seizes the system as a calculated thrill ride that’ll entertain, equaling the same amount of narrative hip-slinging causticity of the last Greek film ventured by Its Bloggin’ Evil, a zomedy known as “Evil: In the Time of Heros” starring Billy Zane and directed by Yorgos Noussias.

As a small time pawn, Alkis Vidalis has prowess in formulating plans quickly; they may not go accordingly and he may break a nose or a leg in the process, but Alkis, like a cat, always seems to land on his two feet when in a skirmish with hired henchmen, coming out bloody but on top. Alkis isn’t a killer but has to become one in order to survive and even though he’s the central character to the story, mystery shrouds around him in what drives the favorable anti-hero to not cower and stay alive other than pure, animal instinct. Konstadinos Aspiotis has the chops to bring Alkis to the screen and express that oxymoronic quality of unsure confidence in Alkis’s mob misadventure. Tsilifonis writes voice over monologue in Alkis’s voice, as if he’s telling a story to the audience, for exposition purposes that describe the setup and the characters which fundamentally weakens the film, but for this particular tale, the voice over monologue is warranted. Aspiotis has numerous interactions with various characters but more so with Makis Papadimitriou as Peter, a low-level enforcer trying to make a name for himself. More like a caretaker than an enforcer, Peter has one job: to make Alkis think they’re friends and then kill him. However, Peter, who isn’t necessarily a screw up, fudges his task and caught in one of Alkis’ fly by the seat of your pants plans. The character is etched with more a selfish attitude toward everything when the tables turn on him and Papadimitriou cultivates all of Peter’s self-regarding desires into the correct power and survival categories while his dynamic with Alkis is looking at himself in a mirror. They mirror so much so that both characters receive their own perspective of the same event. Other characters intertwine with the two leads and they’re played by Mirto Alikaki, Christos Loulis, Argyris Xafis, Panos Koronis, and Themis Panou.

Tsilifonis script has an affinity for pop culture, referencing various films and TV shows by name, such as Martin Scorsese’s “Goodfellas” or HBO’s “Game of Thrones” for example, to juxtapose events and/or characters on a mafia level. Films and television shows are not alone in this homage of iconography as social media websites and their viral and trendy sensations are integrated into the script as table talk conversations. 4chan, Youtube, and The Fappening are particularly referenced when the editor of Alkis’s testimony, also a porn editor with an inflatable sex doll, finds the conservatively torrent side of Google’s acquisition of Youtube distasteful for edgy content and the humor in the bare exposures of star-studded private lives and photos with 4chan and The Fappening while thumb jockeying a Playstation controller in midst of conversation with Peter who seems relatively neutral about these things. Even though suavely placed, “Do It Yourself” frequently uses the pop culture tag words in excess that render them redundant and tiresome that when in retrospect, Tsilifonis could have completely omitted them and “Do It Yourself” can, well, do it itself. The only other gripe with “Do It Yourself” is if the plot takes place entirely in a porn studio, then where was the nudity? Am I wrong?

Artsploitation Films delivers another knockout thriller title from their eclectic catalogue with Dimitris Tsilifonis’s “Do It Yourself” on DVD home video, presented in an anamorphic widescreen format, 2.39:1 aspect ratio. Between Aggelos Papadopoulous’ depth defying photography and the impressive visual effects that flawlessly moves and puts a building in the middle of nowhere, the transcendence image quality is one with this release as it’s practically impossible to conclude what’s real and what a visual effect. Other visual effects of displaying Ikea like instructions on the side of a building, showing the cell phone screen next to Alkis, or having subtitles embedded into portions of the wall are unique and clever, but too far and in between that ends up being an inconsistent inconvenience. The dim tint sets the tone while still mastering the color palate. The Greek language Dolby Digital 5.1 surround sound allows you to hear every glass break, every ping of a bullet ricochet, and every guttural and verbal echo in the reverberating car garage through the five channels. The prominently Greek with little English dialogue is in the forefront amongst a well-balanced range and depth of sounds like hearing the muffled voices behind glasses, the soft moans and groans of porn actors behind the fake walls, and, on the other side, the high squeal of a racing tire wheel. Bonus features include a three small featurettes that revels how the camera shot elevated up from ground level to the top, another was the visual effects breakdown in creating the building structure, and the last being two deleted scenes. Dimitris Tsilifonis’ has a commentary track and 14 minute short film “The Way of Styx” is also available. “Do It Yourself” is no Bob Vila special on how to repair the seeping drips from a leaky sink with your own two God-given hands, but the Dimitris Tsilifonis film bustles with fun in a deluge of crime and betrayal and that, my friends, is a priceless enlightened experience.