The EVIL is Not Just in the Virus, but Also in the Cure! “Side Effects May Vary” reviewed! (Tempe Digital / Blu-ray)

Posted by Steven Lewis on June 8, 2025

“Side Effects May Vary” From This Blu-ray Drug!

COVID-19 virus has the world masked up and social distancing in full effect with experimental vaccines being rushed toward a rollout. For Glenn Rollins, being under the weather now for weeks still hasn’t convinced him to inject himself with experimental Government drugs meant to combat coronavirus but when wife Janelle does everything in her persuasive power to convince him to take the vaccine, Glenn reluctantly agrees to receive the shot at his doctor visit the next day. What Glenn is given is no ordinary coronavirus vaccine, but the new Alpha-21 concoction just released for public intravenous inoculation, an rapidly tested serum that boils subjects from the inside-out. Instead of completely exploding in a pile of blood and sinew, Glenn’s rare blood type maintains a semi-rigid form and the only way he can maintain from melting into a pile of goo is to feast on the blood and meat of the living in his zombified state.

The cult director behind “The Dead Next Door” and “Robot Ninja,” J.R. Bookwalter, returns to take a hypodermic needle stab at a world-crippling pandemic horror inspired by the COVD-19 virus and how the FDA rushed to approve emergency vaccinations on U.S. citizens in a comically satirical, gore-and-goo-filled comedy-horror. The movie, “Side Effects May Vary,” is Bookwalter’s first film in over 20-years, the last being “Mega Scorpions” that only saw a streaming release due to a folding in the financing of a distribution deal. “Psycho Sisters” and “Her Name Was Crista” writer James L. Edwards, who’s collaborated with Bookwalter since the very beginning of the filmmaker’s career, pens the script and also stars in the disturbing desquamation of Glenn role. “Side Effects May Vary” is the second direct-and-writer production between Bookwalter and Edwards with the first being 1996’s “Polymorph. As like many of Bookwalter’s films, he produces under his longstanding own indie label Tempe Digital serving as executive producer alongside Edwards producing and wife Lana Bookwalter as associate producer.

I wouldn’t call Glenn Rollins a right-wing conservative antivaxxer but, instead, Glenn’s a doubter of the vaccine’s testing measures with a range of side effects from an experimental injectable could cause from a vaccine so unproven swirling inside his head. That’s the satirical concept Bookwalter and Edwards put into motion and deliver fully charged as mild-mannered Glenn gorges on the innards of family, friends, neighbors and strangers after unpleasantries arise from an untested product. The likeable Rollins rears an ugliness brought upon by pressures of vaccination, especially from his wife Janelle, played by indie horror scream queen Tina Krause (“Crimson Nights,” “Bloodletting”). Another scream queen of legendary acclamation is in on the fun with Brinke Stevens (“The Slumber Party Massacre,” “Sole Survivor”) as the saucy nosy neighbor who knows all the sexual acts by their sporty designations. We journey from the beginnings of a substance subjugation and are wiggled into a buddy cop scenario between Glenn Rollins’ best friend and former cop turned private eye Jack Murray (Drew Foriter, “Trivial”) and his former boss and one-night-stand Chief Tom Danvers (“Floyd Ewing Jr., “Robot Ninja”) and their sudden thrust into an investigation to find Glen under their distinct impressions of his character, plus that one sexual encounter between them, makes for a good dynamic of sidetracking diversion that interrupts a constant flow, which can get stale, of formality and responsibility of chasing a killer. The cast Sasha Graham (“Trivial”) as the prescribing primary care physician Dr. Fisher, Wendy Zier (“Trivial”), Tom Hoover (“Ozone”), and David Bachmeier (“Bathtub Shark Attack”) as the first scene test subject of Alpha-21’s explosive results.

A relief will wash over fans to know J.R. Bookwalter is not dead in the water when it comes to directing. A long hiatus was exactly what Bookwalter needed to get back to form after a string of mediocre horror that didn’t leave a bad taste in our mouths but wasn’t quite the standard of the Ohioan director’s carnage-laden caliber. “Side Effects May Vary” spoke to nationwide fears during the global pandemic, in a humorously horrifying way, and even extends beyond that now historical portion of our time into the forefront of our minds that we may have not have yet seen the actual long-term effects of the COVID shots, if any. The intention of “Side Effects May Vary” is not to instill fear, though does create a fraction of concern, but is more to the tune of exaggerated those once media covered and one-sided fears to the extreme by turning injected patients into boiling potato sacks of putrid cannibalism. It’s pretty damn funny and gross. To create a vibrant visual veneer, Bookwalter plays with different lighting angles and color gels of primary neon illumination that takes characters out of the real world and places them into a fantastical neon-noir that surrenders to the sexualized, the scandalous, and the scary story bits and pieces. The buddy-cop, manhunt storyline works as bodies are left as breadcrumbs for the two conflicting investigators that are on the precipice of making a final decision on Glenn Rollin’s fate while Glenn himself battles internally, both physically and emotionally, his wretched state that needs blood to slow down the process of his metaphorizing melting but his mild-manner, nice-guy identity doesn’t want to harm a soul.

Tempe Digital castrates the COVID cure scare with an incredible liquescent comedy-horror in “Side Effects May Vary” on a director’s cut Blu-ray home video. The AVC encoded, 1080p high-definition resolution, BD25 comes with a ton of color, contrast lighting, and a decent compression codec that makes the low-budget production appear a step or two up the upscale staircase. The heavy neon light cuts into the skin and textural details but scenes more naturally lit, such as in the outdoors, fair better with more granular inside a digital presentation in its original aspect ratio of 1.78:1. There are two English audio mixes available for selection and audiophile setup in a DTS-HD 5.1 Master Audio and a Dolby Digital 2.0 Stereo. The surround sound selection has a semi-fluid dynamic that works in a contained closed to medium shot arrangement and doesn’t expand to anything beyond to warrant an immersive experience aside from a healthier fidelity of the dialogue, proximity milieu, and the gruesome creature sound effects. Dialogue can get out of the reigned in alignment that breaks in with sparse unfiltered hissing but otherwise renders cleanly and clearly through the 81-minute runtime. English subtitles are available. Special features encoded are an audio commentary with director J.R Bookwalter, a Harris Theater Q&A in Pittsburgh at the Roadshow Opening Night with film guests Bookwalter, writer-star James L. Edwards, and actor Floyd Ewing Jr., a theatrical roadshow cut trailer, a teaser trailer, and the theatrical trailer. Art from the Alex Sarabia and Karl Munster collaboration gives a pulpy artistic rendition of Glenn Rollins oozing deterioration inside a clear Amaray Blu-ray with no supporting supplements other than a cropped version of the art on the disc. The not-rated, region free disc is a perfect cure for what ails you – bad indie comedy-horror done right!

Last Rites: A global pandemic killed millions of people, the silver-lining is now we can look back at that time of isolation and fear and honor those deaths with a coronavirus and rushed-cure blend act worthy of being to the likes of “Bad Taste.”

“Side Effects May Vary” From This Blu-ray Drug!

EVIL, Over a Decade in the Making! “Profane Exhibit” reviewed! (Unearthed Films / Blu-ray)

Posted by Steven Lewis on October 4, 2024

“The Profane Exhibit” is Finally Here! Come And Get It!

Forged, smelted, and baked from the fiery grounds of hell, 10 stories of bleak and utter horror crimson the soul with blood and pale it with terror. Ten directors, ten stories, ten obscure unfathomable depictions tell of a draconian religious sister matron with a despotic rule over a child orphanage, a daughter held prisoner by her parents in her own home basement, a cult willing to sacrifice newborns for the sake of their demonic tribute, the Third Reich submitting to extreme measures to keep their ranks pure, a reenactment of a father and son’s unnatural skin-to-skin bonding, a nightclub’s underground bloodletting witchery, and more unnervingly bizarre ballads. These tales of torment tatter the life force piece-by-piece until there’s nothing left to exhibit, nothing left of one’s humanity, nothing left of being human. A cruel anthology awaits just beyond the play button, ready to shock, appeal, and maybe even stimulate the perverse, primal nature in us all.

An anthology a decade in the making or, to be more specific, a decade plus one year in the making in the long awaited “The Profane Exhibit.” The 10-short film anthology is the brainchild of Amanda Manuel that began principal production in 2013 and finally saw completion and release in 2024 after a slow slog of shoots, edits, and post-production this-and-thats to finally crossover the finish line. Varying from micro shorts and to average length short films, the anthology employed 10 different in degree genre directors from all over the world to make the mark in what would become a manic syndrome of monsters, mayhem, and molestation. Yes, we’re talking about some really gross things, some terrifying things, and some other abnormal, abstract, and abysmal things that could be happening right now in your nightmares, or under your nose. Anthony DiBlasi (“Malum”), Yoshihiro Nishimura (“Tokyo Gore Police”), Uwe Boll (“Bloodrayne”), Marian Dora (“Cannibal”), Ryan Nicholson (“Gutterballs”), Ruggero Deodato (“Cannibal Holocaust”), Michael Todd Schneider (“August Underground’s Mordum”), Nacho Vigalondo (“Timecrimes”), Sergio Stivaletti (“The Wax Mask,”) and Jeremy Kasten (“Attic Expeditions”) helm shorts they’ve either written themselves or by contributing screenwriters Carol Baldacci Carli (“The Evil Inside”) and Paolo Zelati (“Twilight of the Dead,”). Harbinger Pictures and Unearthed Films, who also premiered it’s at-home release, co-produced the anthology.

Much like the diversity of directors, the cast is also an assortment of aggregated talent that stretches the global gamut. Popular and classic horror figures like Caroline Williams (“The Texas Chainsaw Massacre 2”) and Clint Howard (“Ice Scream Man”) play the normal couple next door conversating about politics, date night, and work while all the while they’ve locked their daughter away from the world and use her as daddy’s little sex slave in Uwe Boll’s “Basement,” depicting the normal and safe is actually abnormal and danger right in the middle of suburbia. Others such as the underrated scream queens Monique Parent (“The Witches of Breastwick”) as a fully naked and willing “Goodwife” to her sadistic husband, Mel Heflin (“Queen Dracula Sucks Again”) donning a pig mask, naked by the way, in a rave club along with Tina Krause (“Bloodletting”), Elhi Shiina (“Audition”) and Maki Mizui (“Mutant Girl Squad”) finding happiness amongst death, and notable global genre actors Thomas Goersch (“Voyage to Agatis”) as the German father crippled by his son’s retardation, Dan Ellis (“Gutterballs”) as the hardworking husband who has everything but it all means nihilistically nothing, and Art Ettinger, the editor name and face of Ultra Violent Magazine doing his part with a bit patron part in the nightclub. Mostly all listed have previously worked with their short film directors previously that denotes a sense of ease and expectation from their performances but that still makes their acts nonetheless shocking. “The Profane Exhibit” also sees a few newer faces in the conglomerated cast with Christine Ahanotu, Tayler Robinson, Tara Cardinal, Mario Dominick, Witallj Kühne, Valentina Lainati, Josep Seguí Pujol, Dídac Alcaraz, and Stephanie Bertoni showing us what they can dish out disgustingly.

Was the 11-year wait worth it? Over the last months years, “The Profane Exhibit” received substantial hype when Unearthed Films announced its home video release, pelting social media with here it comes, get ready for it posts, tweets, and emails and for fans who’ve been following the decade long progress, director Amanda Manuel’s “The Profane Exhibit” does not disappoint as the content storyline harks back to the lump-in-your-throat, gulp-swallowing roots of general discomfort from an Unearthed Films release. While it may not “Slaughter Vomit Dolls” level gross of upheaved bile and whatever was ingested moments before shooting, the filmmakers go deeper into the viscerally ignorant, ugly truths. We’re not talking monsters or supernatural entities tearing Hell a new rectum, but “The Profane Exhibit” delineates the sordid nature of the human condition in an egregiously behavioral way that some of these ideas are not so farfetched. A select few of the filmmakers incorporate surrealism into their shorts, such as with Yoshihiro Nishimura’s aberrant Mary Poppins, known as Hell Chef, replaces a spoon full of sugar with a bowl full of cooked human when turning a frown upside down of a young girl who just killed a man who she suspected tried to rape her. The Geisha-garbed Hell Chef flies through the air holding up her Wagasa, Japanese umbrella, when her job is done. Most others are grounded by realism with sadism being the primary culprit – “Basement,” “Goodwife,” and, to an extent, “Sins of the Father” and “Mors of Tabula.” And then, there are shorts like the late, and great, Ruggaro Deodato’s “The Good Kid’s” that feels hackneyed and unimpressive coming up short amongst the others and makes one think if his name alone awarded the short a spot in Manuel’s lineup.

In all, “The Profane Exhibit” delicately caters to the indelicate and is a visual instrument of visceral imagery curated for pure shock value. Unearthed Films’ Blu-ray release has finally arrived and is now in our bone-exposed and gory fingertips. The AVC encoded, 1080p high-definition, BD50 allows for dual-layer capacity for not only to squeeze in the 108-minutes’ worth of micro shorts, but allow for extended extras, deserving to fans who’ve waited years for this production to see the light of day. Like any other anthology, a mishmash of styles but up against each other with the assemblage of different stroke directors and cinematographers but there seems to be no issues with compression, such as banding, blocking, aliasing, or any abundance of blurry noise, in the flexing widescreens aspect ratios of 2.35:1 and 1.78:1. A good example of Unearthed Films’ codec processing is Deodato’s bridge scene; while I don’t care for the short all that much, the long shots of the bridge are nicely detailed in the nighttime, lit only be the bridge’s powered light poles, creating a downcast of warm yellow along a solid shadow-spotty bridge. You can see and realize the stoned texture without even using your imagination on how it should look and that tell me there’s not a ton of lossy codec at work here. An English, Spanish, Italian, and German mix of uncompress PCM 2.0 audio serves as the common output to be as collective and unified as possible. No issues with hampered dialogue with a clear and focused track. There dual channel quality is robust and vibrant, living up to Yoshihiro Nishimura’s surreal energy and a commanding Japanese tone while still finding voice prominence in other shorts, if dialogue exist. Depth is fleeting without the use of a surround mix with an anthology that’s centered around the human condition rather than atmospherics, but I do believe Jeremy Kasten’s Amuse Bouche would have greatly benefited from the distinct gnashing, squirting, and smacking sound elements of a pig being processed to consumption in his wraparound. English and Spanish subtitles are optionally available. Years of bonus content has been produced and collected for this special release which includes an audio commentary Director Michael Todd Schneider, Producer Amanda Manuel and Ultra Violent Magazine’s Art Ettinger, a world premiere interview with creator Amanda Manuel and short director Michael Todd Schneider at the Buffalo Dreams Fantastic Film Festival, a world premiere Q&A, a 15-minute mini documentary Ten Years Later with “Mors in Tabula” director Marian Dora, an extended short entitled “Awaken Manna” with introduction and discourse, PopHorror’s Tiffany Blem Zoom interviews select directors with Michael Todd Schneider, Uwe Boll, Jeremy Kasten, and showrunner Amanda Manuel, image gallery, and trailer. The 2024 release has a runtime of 110 minutes, is not rated, and is region free.

Last Rites: Worth it. That’s the bottom line for this long-awaited film imbuing with bottom-feeders. Unearthed Films returns to roots with rancidity and fans will find their bloodlust satisfied.

“The Profane Exhibit” is Finally Here! Come And Get It!

Nihilism Brings Out the Evil in All of Us! “The Vicious Sweet” reviewed!

Posted by Steven Lewis on December 7, 2019

Popular B-movie scream queen, Tyler Phoenix, just walked out belligerently from the latest screening for her new schlocky horror film. Fed up with worrisome managers, pressuring producers, and hot-headed directors, the leading lady glazes over her career as the past creeps back into her life, sourly affecting the platonic, one-sided relationship with her boyfriend. Tyler’s downward spiral toward the depths of depression and frustration attractively consider suicide by pills, but when Tyler awakes, she finds herself handcuffed to a bed with a mysterious masked man looming over her. What the man wants is unclear to Tyler, but one thing is absolute, he’s an adoring fan of hers who seemingly knows more about Tyler than she knows about herself. Hours seem like days, days seem like weeks, and weeks seem like months as Tyler is continuously drugged and asked personal questions about her past and about the disparage campaign to capsize her life. Tyler begins to hallucinate and can’t tell what’s real or not as she confronts internal demons while being completely forthcoming to her dangerously devoted captor.

“The Vicious Sweet” captures visceral surreal existentialism from Sub Rosa Studio’s own Ron Bonk in the shoes of writer and director. The 1997 thriller is a cinematic blend of psychological horror, self-deprivation, and coming to terms with one’s own identity. All shot on analog video and on a micro budget, Bonk’s able to depict dreamlike scenes hauntingly and pragmatically without the assistance of costly visual effects that often cheap in appearance on video transfers. Shot in Syracuse, New York, “The Vicious Sweet” could be set anywhere, USA and with locations that set the main characters in close knit quarters for nearly most of the 90 minute runtime, the “House Shark” is able to fashion an under the radar overwrought mystery. Though the SRS Cinema retro DVD cover is lustfully tasteful with an illustrative Tyler Phoenix handcuffed to the bed and in her underwear, “The Vicious Sweet” isn’t about abduction for sexual exploitation. Yes, one scene does represent the DVD cover; however, Bonk’s story tickles the frayed and blurry realm of the mortal coil that can push the limits of not only the story, but also Bonk’s ability to explore that plane of existence that inhibits zombies, large rat-faced looking creatures, and the intangibility of time.

Tyler Phoenix whirls as an angsty actress with a chip on her shoulder and a metaphorical duffle bag full of internalized secrets. Sasha Graham straps herself right into the role, exhorting all the right kinds of anger and cynicism into her seemingly successful character’s career. Graham has seen her fair share of mid to late 1990’s lowballed b-movie films, such as having a substantial role in “Polymorph” directed by “The Dead Next Door” director J.R. Bookwalter and in “Bloodletting” helmed by the “Witchhouse” screenwriter Matthew Jason Walsh, but “The Vicious Sweet” marks the debut of leading lady, a true scream queen role, and Graham wears it well. She’s complimented by the debut performance of the late Bob Licata as the mysterious tormentor who goes by the name of Grimaldi, one of the performers from Phoenix’s early, short-stinted porn career. Grimaldi, who repeatedly notes, is a part of Phoenix and, for a lack of a better term, symbolizes the actresses betwixt past and present on a conscious level of trying to make sense of all that’s entangled in that screwed up and complex mind of hers. Licata, in regards to his character, is cold and consistent, playing the act of a passionately solemn and unpredictable serrated fan hellbent on trying to expose Tyler Phoenix’s true self. “The Vicious Sweet” also stars Jason Wicks, Theresa Constantine (“Bloodletting”), Jeffrey Forsyth (“Gut-Pile”), Al Marshall, Steve Wood, and Jeff Jones.

The story progression through Tyler’s figuratively personal hell hardly goes stagnant despite, for most of the her status, being manacled to a bed for relentless interrogation. Tyler’s put through a variant ringer of drug induced hallucinations and cerebral caprices and much of the credit, alongside Sasha Graham, should go to writer-director Ron Bonk who is able to translate from script to screen his vision. Contrary to the restraints of a SOV production, the creativity of Bonk’s camera work in masking, in more ways than one, Grimaldi’s stoic façade and centralizing Tyler’s and her experiences is evocative , the antiquated practical effects are still appositely poignant, and the diverse content holds “The Vicious Sweet” to a larger scale than the finances suggests. I’m not trying to elevate Ron Bonk’s film up to being the Holy Grail of low budget horror held in the vibrancy of limelight, but in my opinion, to dismiss the appreciation for producing something out of nothing would be a tremendous disservice to all auteurs. “The Vicious Sweet” leaves us with an open for interpretation perspective that somehow manages a jaw-dropping mound of shock and perplexity, nothing short of the likes of Christopher Nolan’s “Inception” ending.

The SRS Cinema DVD home video release of Ron Bonk’s “The Vicious Sweet” is presented region free, 1.33:1 aspect ratio from a S-VHS Betacam SP, that mostly result with black bars on each side of your 16:9 HD television. The limited edition Blu-ray is marketed as remastered, but the DVD image quality is awfully poor from the analog master transfer and doesn’t seem to have a smidgen of touch up where marco-blocking artifacts and aliasing run rampant. What also doesn’t help matters is the faded coloring and the blacks nearly void of any shape of definition as if you’re in a bright room and the light is shutoff and nothing but a blurry black void is present between the light and the time you’re eyes can adjust. The English language lossy 1.0 uncompressed mono track is frail and shaky, but still manage to push through without an obfuscate obstacles. Dialogue cozily lies low on the audio totem pole and the range and depth lack during more fantastical moments of zombies and monster swarming about. Bonus features include a director commentary, a director and Sasha Graham commentary, and SRS Cinema trailers. The best DVD feature, along with the film itself, is the illustrated, VHS letterbox DVD cover of the aforesaid Tyler Phoenix beautifully bound to the bed with candles lit by her table side and dressed scantily with a nice Please Be Kind, Rewind cherry on top. Despite the technical woes, “The Vicious Sweet” remedies the longstanding misinformed notion that independent b-horror movies are a hack and burden to the cinema fuselage with vast imagination and sturdy ambition.

The Vicious Sweet DVD is a must buy!

Comic Book Vigilante Takes on Evil! “Robot Ninja” review!

Posted by Steven Lewis on May 2, 2019

The television adapted bastardization of his beloved illustrated Robot Ninja leaves comic book artist Lenny Miller with a bad taste in his mouth. His disgust with the direction angers him to part ways with the project, leaving the televised rights in the hands of a careless and uninspired studio crews and execs, but that won’t stop Miller’s creative juggernaut of the captivatedly violent, robot vigilante. Inspiration takes heart-rending form when Miller happens upon a roadside abduction and rape of a young couple where his attempt at a rescue ends tragic with the couple being brutally murdered and him severely injured, but with the help of his good inventor friend, Dr. Goodnight, the frustrated comic-book artist becomes the Robot Ninja, just as depicted in his comics, with a vengeful plan to hunt down the assailants and put a bloody end to their wrongdoing reign of terror. A good first night out ends with one thug dead and an ego boost for Miller, but Robot Ninja’s actions don’t deterrent crime and, in fact, crime hits back hard when not only Robot Ninja becomes the target, but also his friend Dr. Goodnight and innocent bystanders.

“Robot Ninja” is part one of an unintentional two part review segment about directors disowning their own cinematic handy work for X, Y, or Z reasons and while “Robot Ninja” was initially discarded by “Dead Next Door” writer-director J.R. Bookwalter due to poor post production that was essentially out of the filmmaker’s hands and a work print negative thought to have been lost for eternity, Tempe Entertainment foresaw the awesome potential for the late 80’s automaton avenger in an dual format ultimate edition after a unearthed work print surfaced and back into the Bookwalter’s hand to mend and correct his sophomore feature film! Forget Iron Man. Ignore Captain America. Incredible Hulk who? “Robot Ninja” is one of the only true comic book heroes from illustrations to to take a stand against crime passionately and not because if you have great power, there’s great responsibility.

Robot Ninja is the epitome of the combo character that could sway into either hero from the 1980’s, like in Paul Verhoeven’s “Robocop” and Amir Shervan’s “Samurai Cop,” or could even swerve straight up into the villain category though I have no examples floating around near the inner layers of my cerebral cortex, but the Robot Ninja bordered the very blurry gray lines of anti-hero status whether intentionally or not from the perspective you examine. The Robot Ninja character potentially could have set fire to the combo character direct-to-video cult underworld, but fell rather hard and flat on its face in the deadfall of the netherworld instead. None of film’s flaws or woes never sat its hampering weight upon the goldilocks graced shoulders of Michael Todd, who portrayed the clawed hand titular character. Todd’s enthusiasm for the role is beyond necessary, a real A for effort, into powering on Lenny Miller’s illustrated crime combatant. Lenny, aka Robot Ninja, vows to destroy, or rather disembowel, the local gang led by the ruthless Gody Sanchez, a she-devil aimed to please only one person – herself. Maria Markovic, another actor that’s in J.R. Bookwalter’s “Dead Next Door” circle, find herself in the antagonistic role in one of her sole two credits. Markovic’s acting chops are about as stiff as a board, but being surrounded by the right kind of thugs in James Edwards (“Bloodletting”), Bill Morrison (“Ozone”), Jon Killough (“Skinned Alive”), Rodney Shields, and Michael ‘D.O.C.’ Porter, Gody Sanchez is able to achieve par-level black heartedness. “Robot Ninja” round-kicks an uppercut class of actors such as Floyd Ewing Jr., Michael Kemper, the original Dick Grayson Burt Ward (“Batman” television series), the one and only Linnea Quigley (“Return of the Living Dead”), one of Sam Raimi’s entourage buddies Scott Spiegel, and Bogdan Pecic and the good Dr. Goodnight.

Without doubt, “Robot Ninja” was destined for the direct-to-video market and the quality of work obviously shows, but with flaws aside, the obscure 79 minute feature still manages to be a part of Bookwalter’s “Dead Next Door” universe full of gore, violence, and a distain for human nature despite briefly disavowing “Robot Ninja’s” mucked up existence for years. Subtempeco EFX, comprised of David Lange, Bill Morrison, and Joe Contracer, don’t exactly go cheap when Robot Ninja’s dual blades pierce and pop eye balls inside the skull of some punk or when Lenny’s patching up his injuries without as much flinching in pain, the open, surely is infected wound just pulsates with exploded flesh and blood. Bookwalter’s direction is hazy at times around the beginning with the dynamic between Lenny and his publisher that feels stagnant and irrelevant; however, the comic book scenes interwoven into the meatiest part of the story, the Robot Ninja action, is remarkably cool for a late 80’s budget gas.

Tempe Entertainment have outdone themselves with the region free ultimate edition DVD and Blu-ray combos set of “Robot Ninja” with a “painstakingly” restored 2k film scan from the original 16mm A/B roll cut negative and presented in a 4:3 aspect ratio. The picture is night and day compared to previous VHS and DVD releases that underwhelm director J.R. Bookwalter’s vision. The vast color palette of various lighting and color schemes during the dream sequences have been gracefully corrected and the contrast has been restored to lighten up the much of the darker, almost unwatchable scenes. Good looking and unobtrusive natural grain from the 16mm stock and the re-edit makes a difference that finally seems cuts together without causing some confusion. The English language 5.1 DTS-HD Master Audio surround sound is entirely new construction from Bookwalter and the lossless tracks have ample range and depth, balanced nicely throughout, and have little-to-no distortion or other imperfections. English and Spanish subtitles are also included. A slew of bonus material on both formats include audio commentaries from J.R. Bookwalter, Matthew Dilts-Williams of Phantom Pain Films, producer David DeCoteau, James L. Edwards, Scott Plummer, David Lange, David Barton, Doug Tilly and Moe Porne of The No-Budget Nightmare. J.R. Bookwalter also has a 21 minute segment about the whole start-to-finish journey with restoring “Robot Ninja,” a Linnea Quigley retrospect on her small role experience in the film, an interview with Scott Spiegel, a location tour with Benjamin Bookwalter, “The Robot Ninja” fan film from 2013 with introduction by director Johnny Dickie, artwork and promotional material, behind the scenes gallery, production stills, “Robot Ninja” unmasked featurette, rough cut outtakes, TV show promo, newscast outtakes, the original VHS release trailer, and Tempe trailers, plus much more. Lets not also forget to mention the stunning cover art by Alex Sarabia, Carol Chable, and David Lange and a new title sequence also by David Lange. Tempe Entertainment’s ultimate edition of “Robot Ninja” is a thing of beauty that should be seen by all who love campy, Sci-Fi horror flicks with grisly skirmishes and intense tragedy in every corner. The restoration work “Robot Ninja” is founded on absolute love, a rare concept seen for direct-to-video features so you know this film must be something special – a true redemption story.